State of Play: DANCE MUSIC UK AND SPAIN 2015 State of Play: DANCE MUSIC UK AND SPAIN 2015

Author Alexandra Penciu

Research & Analysis Sophia Rawcliffe & Thomas Rea

Editor Tina Mermiri

Interviews / Editor Giles Fitzgerald

Design Chloe Faram CONTENTS

FOREWORD 4

EVOLUTION OF SOUND 8

EXECUTIVE SUMMARY 18

DEMOGRAPHICS & ATTENDANCE 26

PREFERENCES & MOTIVATIONS 46

THE DANCE CULTURE 66

THE LOGISTICS 78

CODE OF CONDUCT 94

BRANDS & SPONSORSHIP 98

CONCLUSION 112

METHODOLOGY 118

3 Foreword

5 FOREW0RD

strength. This is actively technology and social FOREWORD: reinforced in this report, marketing. “Thanks to Ticketmas- with fan attendance set to ter, the world’s leading MARK LAWRENCE rise again next year and Dance music is a genre that ticketing agent, we with 80% planning to visit a is constantly pushing back finally have a powerful THE CEO OF THE ASSOCIATION FOR ELECTRONIC MUSIC dance gig in the UK the boundaries that define study of dance music it, and it is this perpetual INTRODUCES THE ‘STATE OF PLAY: DANCE MUSIC’ REPORT and 70% set to flock to culture in the UK and sun kissed beach venues sense of momentum, a Ibiza. The release of in Spain. sense of never standing still, this report is a pivotal of always striving to find Dance music has come a converts to a scene that moment; providing an Mark Lawrence Dance music is no longer the next big sound, that will long way. puts ‘the experience’ on a insight into our com- is Chief Executive simply the underground continue to draw audiences par with the music. With a munity and educating at AFEM, a not- sound of the few; it is a to the clubs, fields and Our beloved genre is now heightened desire among the wider media and for-profit trade global movement, one that beaches for years to come. at the forefront of the music fans for the togetherness, music industry on the association created has levelled the musical industry. It has cemented the atmosphere and the value of, and the to represent the playing field, enabling the Yes, dance music has come its presence at the top of sense of escapism that values within, dance humble bedroom DJ to find a long way and I have a common interests the charts, kicked open the makes a dance event so music culture” an avid audience, thanks to feeling that the best is still of those companies doors of America, India and unique, it is no wonder the rise of advanced music to come. and individuals Asia and placed itself firmly dance music festivals have whose business is on the global stage. grown by some 500%* over Electronic With over 10 million people the last 15 years. Dance Music in the UK and upwards There are those that cite of 15 million in Spain the EDM boom as the dot. having attended at least com era of dance music, one dance music event an unsustainable bubble in the last three years, that may burst at any this State of Play report given moment. Dance brings into sharp focus music is bigger, broader the vast audiences that and bolder than a single dance music is capable of acronym. Founded on the MARK LAWRENCE commanding. A 29% rise in tireless work and creativity CEO, AFEM (ASSOCIATION interest in electronic music of hardened club DJs, FOR ELECTRONIC MUSIC) events amongst those who promoters, managers and frequent UK mainstream producers the world over, festivals highlights the dance music continues continuing draw of new to go from strength to

* Dr Geoff Ellis, independent researcher

6 7 Evolution of SOUND

9 EVOLUTION OF SOUND

It wasn’t until the, Naturally, the EDM the demographic appeal ARTICLE: somewhat unintentional, phenomenon has both of dance internationally, re-branding of multiple its fans and detractors, subsequently leveraging EVOLUTION OF SOUND dance music genres as with many hardened interest from a steady EDM – a more radio dance fanatics eager to influx of corporate FRUKT’S TRENDS & INSIGHTS EDITOR UNPACKS THE INHERENT friendly, accessible, lifestyle differentiate between the sponsors (MasterCard, VALUE AT THE HEART OF THE RECENT DANCE MUSIC BOOM option for a generation rich subcultural heritage Smirnoff, Bud Light, of experience hungry of dance and its openly T-Mobile, etc) all eager Millennials – that dance commercial counterpart. to embrace – and help Giles Fitzgerald has Unless you’ve been living to both Techno and House finally broke America. There is no doubt that finance – a scene that spent the last decade under a particularly heavy from the impassioned Subsequently, in just half EDM’s success is the encapsulates the very writing extensively rock since the turn of the Detroit and Chicago inner a decade, this simplified result of standing on the essence of creative about the evolving decade, you couldn’t help city club scene – kept dance re-categorisation – led by pioneering, historical expression, freedom role of brands in but notice that dance music firmly underground a clutch of big name DJs shoulders of giants of the and escapism. music, delivering music culture is undergoing and out of the hearts and – took the world by storm. genre. However, EDM’s insight for some of something of a renaissance. minds of the American Love it or loathe it, dance ability to catapult dance All of which puts dance the world’s most Legions of frenzied fans are music consuming masses music culture would be music onto the global stage music firmly back on successful companies clambering over each other for decades. It dabbled, forever changed. similarly cannot be denied. the agenda. (including Coca-Cola, in a bid to acquire tickets certainly, but never truly Nor can its ability to bolster MasterCard, to sought after live events committed to the evolving McDonald’s & Nike) and multi-day festivals. genres it nurtured. A DJs dominate the airwaves side-lining effect that and, once again, command was directly at odds with a godlike presence at the dance music’s widespread helm of clubs, venues and appeal, revered status and festivals the world over. progressive traction across With EDM’s estimated the UK and Europe, serving global value in the region of to effectively stunt its global $6.9B*, to say dance music crossover potential well is ‘booming’ is something into the new Millennium. GILES FITZGERALD of an understatement. While the European creative TRENDS & INSIGHTS melting pot pioneered EDITOR, FRUKT But it wasn’t always scene after scene, from this way. Rave to Trance, in the America, that somewhat US it simply simmered, forgotten bastion of dance encroaching on the charts music – despite giving birth only fleetingly.

* IMS Business Report

10 11 EVOLUTION OF SOUND EVOLUTION OF SOUND

EDM, of course, only Dance music has a rich that binds it all together or solitary listener. If there keeps dropping and they powers the engine of scratches the commercial and varied heritage that is the passion that the is one defining value, one can be immersed in the a scene that will – no surface of dance music, a spans the full gamut of scene evokes. That integral element, that unites vibrant community that matter how the genre culture that has its roots the early days of Disco to passion is in no clearer the underground scene and sits at the very core of evolves and reinvents itself firmly in the basements, sell out mega festivals like evidence than when the more commercialised the scene. – always be guaranteed bedrooms, warehouses Electric Daisy Carnival, and at the epicentre of a over ground, it’s that an audience of fiercely and underground club everything in between. From live event. Whether it’s dance music has to be Dance music is inherently committed fans. scene. Cut open dance Techno, House and Trance, the hedonism of Ibiza experienced live. social and deeply music and you will find (like to Dubstep, Hardstyle club culture, a Kandi passionate, and it’s this age-defining tree rings) and Trap, dance music coloured multi-day So, while some quibble focus on the raw emotion of the raw cultural expression is constantly, organically, festival, or a one-night- over the merits of dance a live moment shared that of numerous preceding reinventing and redefining only Boiler Room event, music’s evolution and generations compressed itself as each new dance music at its commercialisation, fans, into its form. It is, and generation – spurred on by beating heart is crafted well, they simply don’t care. ‘The one constant that binds dance always will be, the sum of the proliferation of easily with a shared, euphoric Whether its alternative music genres together is the passion its many historical parts. accessible music creation and deeply resonant underground clubs or loud, that the scene evokes. That passion Attempting to hold back its technology – stamps its experience in mind. brash festival culture, the fans all find their niche – is in no clearer evidence than when evolution is somewhat futile. unique personality on the This is not a genre for at the epicentre of a live event’ music. The one constant the sedentary, casual just as long as the beat

12 13 INTERVIEW: JAMES BARTON INTERVIEW: JAMES BARTON

and I can hear the music. A Q: The EDM festival Standing in front of a INTERVIEW: lot of people say ‘oh, it’s not market has grown stage, in the rain, listening as good as it used to be,’ exponentially over the to a rock or pop band is JAMES BARTON but it actually is! If you’re last few years. What is it not enough. There has 20 years of age today that has driven such a got to be more going on and you’ve got access to passionate groundswell around that, there’s got LIVE NATION’S PRESIDENT OF ELECTRONIC MUSIC CHARTS Creamfields, Electric Daisy of interest over the more to be much more on offer THE EVOLUTION OF AN UNSTOPPABLE GENRE Carnival, Hard Fest, these traditional festival route? to get kids excited and incredible shows – which get them to come back JB: First and foremost these Q: How do you feel the but the experience and in some cases are costing to your show year-on- Consistently name- festivals are just much live audience has evolved consumption habits have tens of millions to produce year. The festivals that are checked as the more exciting. As a young since the early days changed dramatically. – compared to what they actually doing this are the most influential man person there is just so much of Cream? would have had to do 20 ones that are growing. in dance music, more on offer at a major James Barton has If I take you back to 1996, years ago to get access to JB: I’ve been involved in at the height of Cream and these DJs and the music, electronic show. People talk Not every dance festival been a catalyst about DJs being the new works. When something’s at the epicentre electronic music for over club culture, kids were going it’s on a completely 25 years now, so I’ve seen out every Saturday night different level. rock stars, but they‘ve gone popular you get a lot of of dance culture, past that. I’ve seen some of new entrants, you get from the founding not just the audiences (maybe even every Friday/ changing, I’ve also seen the Saturday night) – that’s not Maybe the spirit is different, these guys produce shows an over saturation of the days of Cream to the underground revolution at a level way beyond even market, and then you get the forefront of Live business change. In many the norm any more, that’s ways the audience has the exception. The norm vibe of 1988 doesn’t exist successful rock stars. We a correction. The guys Nation’s EDM as much in 2015, but are living in the ‘age of that survive are the ones powerhouse driven the business. If you is that kids now want to take a snapshot of where invest in big experiences, the actual product is experience’, simply serving who know their business we are today, the average big moments in their year. so much better. something up isn’t enough, inside out. They know ticket buyer for our events This generation wants to be the kids want more. who their consumers are, is a young person roughly impressed. They want big between 18-22 years old. productions, they want the The scary thing is that biggest line-ups, they want when we started out on fabulous weather, they want this adventure of electronic amazing services. In that music a lot of those kids respect they are so much weren’t even born. There’s better served today. If I JAMES BARTON PRESIDENT OF ELECTRONIC MUSIC a huge difference between think back to when I used to LIVE NATION the history and the roots go to parties, I would climb of electronic music to fences, cross fields and where we are today. I think wade through rivers to hear that the core values in the music because it was electronic music are still so underground. Now I just pretty much the same, need to turn the radio on

14 15 INTERVIEW: JAMES BARTON they know how to market Dance music is just so much are so different to what to them, and they know closer to this demographic they were all those years what their product should than ever before. The kids ago. God bless those look like. The guys who are raised on pop, as they grow kids who are sitting there winning, who are selling and leave pop behind, thinking the tickets, are the guys they’re not gravitating ‘I hate dance music who’ve had their roots in towards Rock ‘n’ Roll, they’re today I’m going to come the culture for many, many focusing on electronic music out with my own version years. The new guys who – it just fits their lifestyle and I’m posting it onto see it as ‘an opportunity’ more. This generation is a SoundCloud, Facebook, are all going to the wall generation of technology YouTube, whatever, and very quickly. If you don’t – they spend their whole I’m going to build an understand the culture, and day on devices – and audience.’ It’s these you don’t understand the dance music is created young producers who values in the culture, or the with technology, so there can hopefully push consumer, forget it. is a lot of compatibility. If the genre on to the a great dance record can next level. Q: How crucial is it now be made on an Apple that the dance music device, well every kid in the The good news is business supports world is probably sitting the genre is always underground culture on an Apple device. The reinventing itself, and as and emerging talent? cost for some young new long as there are kids kid to sit in his bedroom still passionate enough JB: We’re never going to to go into their home convince the superstar DJs and create a new sound is now tiny compared to studios and come up to ever go back and play in with something new and clubs for £10,000 when they paying thousands per day for access to a studio. Also, interesting, electronic are getting hundreds of dance music will thousands to play festivals. access to an audience and the channels of distribution continue to grow So the underground guys and evolve. have to fill that void. The great thing about electronic music is that for every great super club, for every great ‘The great thing about electronic music is superstar DJ, there is a kid that for every great super club, for every in his bedroom today trying to knock us all off our perch. great superstar DJ, there is a kid in his And that’s what keeps bedroom today trying to knock us all off it fresh. our perch’

16 17 19 EXECUTIVE SUMMARY EXECUTIVE SUMMARY EXECUTIVE SUMMARY 2. THE INSIGHTS 16% of the UK population In the last three years, • In Spain, 81% of dance and twice as many of dance gigs in clubs or attendees went to music the Spanish population similar venues were most concerts (vs. 61% of 1. THE CONTEXT (33%) have been to at popular for UK attendees the overall population) least one dance event in (frequented by 60% of and 80% went to sports For the purpose of this • A beach clubbing Our research focuses the past three years dance attendees), while events (vs. 58% of the research we have defined a destination (such as on behaviours and the Spanish were more overall population) ‘dance event attendee’ as Ibiza, Mykonos, Ayia attitudes of dance event • Likelihood to attend into beach clubbing someone who has been to Napa or any similar attendees in the UK and peaks among the 16-29 destinations (74%) Lack of interest in any of the below types of destinations known for Spain, so where possible year olds in the UK, who dance music is the live events featuring dance their party/ clubbing we have called out the are about four times Most attendees have main barrier-to-entry music in the last three years: scene) – however the differences, as well as more likely to have been to more than one for non-attendees majority of our analysis what ‘brings together’ attended a dance event, type of dance event, • A dance music festival in this report will focus on these audiences in the compared to the rest of with one in seven (14%) • The second highest barrier for non- • A dance music event in Ibiza clubbing two markets. Beyond a the population (over 30 in the UK and just over attendees is age a club, warehouse or deeper understanding years old). The appeal one in five (22%) in Spain (feeling too old) similar venue of this audience, we is higher across a wider having been to all three also looked at individual range of demographics (festival, gig in • However, cost is the aspects that define the in Spain, reaching 55% a club/ other venue, strongest reason three types of live dance attendance in the 16-24 Ibiza clubbing) preventing current UK experiences ie. festivals, DEFINITION USED IN THE SURVEY age group attendees from going club/ venue events and Dance attendees are to dance events in the * By DANCE EVENTS, we mean a live event featuring Ibiza clubbing. • Whilst the majority of more likely than the future, whilst the dance/ Electronic music, for example a festival, a dance attendees are overall population to Spanish view travel gig/ party taking place in a venue (such as a club under 35 years old in also attend all other logistics or distance to or warehouse) or a ‘getaway’ where you travelled both markets, with about event genres venue as a stronger specifically for clubbing (Ibiza or similar) a third aged between 25-34 years old, the over • In the UK, they are barrier (followed by 40’s make up 16% in the almost twice more likely cost, particularly UK and a third in Spain to have been to a music amongst festival goers) concert/ gig in the last • Overall, the audience year (78% vs. 42% of is slightly older in Spain the overall population) compared to the UK, and almost three times with fewer under 25 more likely to have been years old (18% in Spain to a music festival (63% vs. 38% in UK) vs. 23% of the overall population) 20 21 EXECUTIVE SUMMARY EXECUTIVE SUMMARY

Attendees rely on widely • On the other hand, Preferences for hits and celebrity DJs more mainstream – but • One in ten UK spread channels, such as Spanish festival specific sub-genres are the most important they are generally more attendees and 5% social media (Facebook, attendees are equally of dance or DJs are elements for the Spanish positive than negative in Spain, fall into this Twitter and Instagram in motivated by the music diverse as well, and public, while in the UK a about it category particular) and word of and the experience they vary between third prioritise keeping mouth, to find out about (dancing, ‘once in a attendees in UK up-to-date with the • Consumer interpretation Creating and sharing events that interest them lifetime’ experience) and Spain latest music trends of ‘mainstream’ content on social whilst the atmosphere and interacting generally translates to media is an integral • Ticketing websites (e.g visual technology), • In the UK, there is a with other fans positive terms such as element of content are also a source of is a stronger reason to wide appeal for most ‘more popular’, ‘wider consumption, as well information for one in attend for Ibiza goers dance sub-genres, From an industry reach’, ‘more visible’, as of event attendance four across both markets with Urban, Drum & perspective, dance is rather than inauthentic in general Despite music being a Bass, Electro House seen to be setting the or alienating The escapist nature of strong pull, attendees’ and EDM amongst agenda and influencing • Seven in ten attendees dance events and the music preferences the top preferences. popular culture Access to more use Facebook and freedom associated go beyond the dance Spanish attendees, affordable technology other social media to with attending them are genre, with most of them however, have a • Attendees are makes it easier for non- post about their strongly reflected in the also listening to more stronger affinity acknowledging this, with professionals to also favourite events and way people describe ‘mainstream’ genres towards Techno, about a third in both produce dance music artists, or to check and their experiences such as Pop and Rock Electro House markets agreeing that share music content and their attendance and EDM dance music is becoming in general motivations • Dance events appeal, therefore, to people with • Two in five dance • Attendees are driven by a wider spectrum of fans in Spain prefer factors beyond the music music preferences David Guetta, while itself, such as the highly in the UK preferences social element (joining • In support of this, are more varied. their friends, meeting Ticketmaster’s Although Calvin new people, connecting transactional data (UK) Harris is the leading with other fans) and the shows an increase in name, a wider range atmosphere the number of more of DJs mentioned ‘mainstream’ festival paints a more • Music is a greater pull customers in the UK for festivals and gig diverse picture of (Leeds, Lovebox, artist affinities attendees in the UK, Wireless, V festival) while the social element who purchased tickets • In general, the of the experience is most to dance festivals, ‘celebrity DJ’ culture important for Ibiza goers increasing by 29% looks stronger in between 2012-2014 Spain compared to the UK – billboard 22 23 EXECUTIVE SUMMARY EXECUTIVE SUMMARY

• Equally, 68% of UK Ibiza goers also pre-plan • However in both • The majority of overall • Attendees in the UK feel attendees and slightly their clubbing activities markets, almost half attendees (40% in the UK that alcohol brands are fewer (57%) Spanish to some extent, with are willing to pay more and 50% in Spain) find most suitable to sponsor also upload posts on three in five of Spanish (up to £50/€50) for an drug taking at dance dance events (46%), social media during attendees and fewer event featuring a events off-putting whilst in Spain electronic events they go to (one in three) Brits who well-known DJ hardware brands (41%) booked nightclub tickets The vast majority in both are seen as best fit • At dance festivals in in advance Attendees feel markets (57% in UK, 63% particular, Facebook generally positive in Spain) acknowledge posts are more likely to • In terms of likelihood to about measures taken that sponsors have be published before the pre-book in the future, for their safety at a key role in making event, whilst interaction highest appeal is for dance events (security, dance events financially with Twitter and day/beach parties for medical staff, drug possible, with even more Instagram is consistent the UK audience, and checking and testing people (68% in UK, before, during and after day trips or boat parties etc.), with about two 66% in Spain) feeling the event for the Spanish in five acknowledging happy for events to be that organisers are sponsored if this keeps Over two in three More than half of festival putting effort into ticket prices down attendees in both attendees in the UK making them feel safe countries plan their are paying over £50 on dance festival activity in tickets, with just over Although about one in advance and purchase one in ten (15%) who are three in the UK and tickets at least two going over £150 fewer (one in five) in months before the event Spain admit they have (but after line-ups have • In Spain however, the taken recreational been announced). One in majority of festival goers drugs at dance events, six, however, book even (38%) spend between the vast majority do not earlier (at least 6 months €21–50, closely followed find this as integral to in advance) by those paying between their event experience €51–100. Only a very • Although the majority small minority (3%) pay • This is more likely to book directly from the above €150 be occasional rather festival website (over than frequent use, and 80% in each market), Spend on tickets is does not differ to their consideration to lower for dance gigs, reported behaviour purchase from ticketing compared to festivals. outside of these types providers in the future is The majority of UK of events on the rise (with almost attendees usually pay two in three considering up to £30 and Spanish this channel) attendees up to €30 24 25 Demographics & ATTENDANCE

27 DEMOGRAPHICS & ATTENDANCE

DANCE EVENT ATTENDEES DEMOGRAPHIC PROFILE 16% of the UK population, and twice as many of the Spanish population (33%), have been to at least one dance event in the last 3 years.

However, the likelihood to AGE GENDER attend differs considerably As expected, dance music Dance events on the by age across the two event attendees are young whole are more female- markets: – the majority are under oriented in the UK (44% • In the UK, the younger 35 y/o (71% in the UK, 52% males vs. 56% females) demographics (16-29 in Spain) – although the and male-oriented in year olds) are around audience is slightly older in Spain (57% males vs. four times as likely to Spain compared to the UK, 43% females) – however have been to a dance with fewer under 25 y/o. this varies depending on event than the rest of the the type of dance event Whilst in both countries a population (30+ y/o), (festival, club/venue or third of attendees are aged reaching 42% among Ibiza) and quite often on between 25 and 34, over the 16-19 age group the festival or club 40’s still account for 16% in question. • There is a higher appeal of UK attendees and 33% across a wider range of in Spain. demographics in Spain, ranging from 30% of the In the UK, 16-24 year olds are the age group most likely to 45-54 year olds who attend club events, with a quarter (25%) of this age bracket went to a dance event, having been to one or more of those events. 25-29 year through to 55% in the 16 olds are the most likely to go to Ibiza (11%) and 20-24 to dance festivals (24%). – 24 age group In Spain, 16-19 year olds are the age group most likely to attend club events, with two fifths (40%) of this age bracket having been to one or more of those events. 30-34 year olds are the most likely to go to Ibiza (29%) and 25-29 to dance festivals (33 %). 29 DANCE EVENT ATTENDEES DANCE EVENT ATTENDEES

AGE EDUCATION

UK 34% BACHELORS DEGREE SPAIN 33% 33% 16 % 56% 26% 30% A-LEVELS OR POSTGRADUATE UNIVERSITY POSTGRADUATE EQUIVALENT 29% QUALIFICATION DEGREE QUALIFICATION (OR VOCATIONAL 16% 15% 15% QUALIFICATION) REGION 14% 8% 10% 7% 8% 5% 2% 4% LONDON 24% Majority are from LONDON and the 16-19 20-24 25-34 35-39 40-44 45-54 55+ NORTH WEST 16% SOUTH EAST, who, when combined, YRS YRS YRS YRS YRS YRS YRS make up 37% of all UK attendees SOUTH EAST 12% (which is over-indexing on the 27% GENDER INCOME YORKSHIRE AND HUMBER 12% of the UK population living in these EAST MIDLANDS 8% regions).

SCOTLAND 7% MAJORITY WITH ANNUAL SOUTH WEST 6% HOUSEHOLD 38% INCOME OF 38% WEST MIDLANDS 5% SOUTH 24% 56% 44% 43% 57% £20-40K ¤20-40K EAST 4% NORTH EAST 23% NORTH EAST 2% EAST 14% MARITAL STATUS EMPLOYMENT WALES 2% MADRID METROPOLITAN 13% NORTHERN IRELAND 2% 42% NORTH (NORTH CENTRE) 12% 75% 11% CENTRE 10% 36% 29% NORTH WEST 6% 79% 13% SINGLE 34% MARRIED IN EMPLOYMENT IN EDUCATION 28% 24% SEXUAL ORIENTATION The majority of Spanish attendees are based in the SOUTH (24%), closely followed by IN A RELATIONSHIP OR LIVING WITH PARTNER the NORTH EAST REGION (23%). Individual regions with highest representation were 8% ANDALUCÍA (18%), followed by CATALUÑA (17%) and MADRID (17%) – which is in line DO NOT 89% with the Spanish population. 58% 55% HAVE CHILDREN 87% 12% HETEROSEXUAL GAY, LESBIAN, BISEXUAL

30 31 DEMOGRAPHICS & ATTENDANCE DEMOGRAPHICS & ATTENDANCE

ATTENDANCE OF SPECIFIC TYPES OF DANCE EVENTS OVER THE LAST THREE YEARS

In general, people who go and over one in five Spain only went to events in WENT TO DANCE to dance events are highly attendees have been to all clubs/ other venues, FESTIVALS likely to experience them in the last 3 years (festival, which makes them the 51% 48% in different shapes and club/ gig, Ibiza club). least likely to attend a sizes, with a large overlap wider range of dance in attendance between However, a third of the events and therefore ATTENDED the three types of events – overall attendees in the UK, most committed to this 60% DANCE EVENTS 55% one in seven UK attendees and one in five in Spain, type of event. IN CLUB /VENUE

THE OVERLAP WENT TO BEACH CLUBS 28% 56% CLUBBING 74% 14% have been to all three types DESTINATIONS of dance events CLUBS + IBIZA + FESTIVALS have been to two types Significantly more Spanish attendees went to beach clubbing destinations CLUBS 23% 30% 3% of dance events compared to UK 56% have been to one type 14% of dance event IN THE UK IN SPAIN IBIZA 46% 55% Just over half of attendees More attendees went IBIZA FESTIVALS 42% 9% 19% went to at least one type to beach clubs than MAJORCA 54% of dance event, with dance festivals and club CLUBS FESTIVALS + 18% the highest number of events. Also, more people AYIA NAPA 21% IBIZA attendees at events in went to beach clubbing 3% 4% clubs/ other venues (60%) destinations in Spain 18% IBIZA + CLUBS + CROATIA CLUBS FESTIVALS than the UK, which is also 9% 6% Out of the ‘beach clubbers’ 21% driving the overall higher 12% MYKONOS 22% have been to all three (56%), just under half went attendance of dance events 15% types of dance events to Ibiza 22% in Spain. 7% USA have been to two types 5% 32% • A third of attendees • Close to 1 in 5 of dance of dance events IBIZA FESTIVALS 12% of dance festivals and gigs attendees are OTHER 17% 11% 24% 46% have been to one type events in clubs are aged 25-29; a similar of dance event aged 20-24 proportion of dance FESTIVALS + festival goers are 30- ‘Other’ includes Spanish beach IBIZA • Amongst Ibiza clubbers, destinations for respondents UK 5% the 20-29 y/o make up 34, whilst 1 in 4 Ibiza in Spain, and a range for the SPAIN half of attendees attendees are 30-34 UK (e.g. Zante, Dubai, Turkey, Thailand) 32 33 DEMOGRAPHICS & ATTENDANCE

MOSAIC PROFILE

YOUNG, URBAN GROUPS HAVE HIGHEST PROPENSITY TO ATTEND DANCE EVENTS/FESTIVALS

DANCE EVENT FESTIVAL 2.0

1.5

1 = TMUK Average 1.0

0.5

0.0

ELDERLY NEEDS RURAL SOLITUDE ALPHA TERRITORY CAREERS ANDNEW KIDS HOMEMAKERS LIBERAL OPINIONS ACTIVE RETIREMENT CLAIMANTUPPER CULTURES FLOOR LIVING SUBURBAN MINDSETS INDUSTRIAL HERITAGE SMALL TOWN DIVERSITY TERRACED MELTING POT PROFESSIONAL REWARDS EX-COUNCIL COMMUNITY

Based on Experian’s • Festival attendees are Mosaic socio-demographic more likely to be a mix consumer classification of low affluence, young applied to Ticketmaster’s and living in urban areas transactional data for (Claimant Cultures, the UK: Upper Floor Living, Ex- Council Communities, • Dance events in clubs/ Terraced Melting Pot) venues are generally and high affluence, frequented by young suburban families – demographics living in likely to be parents urban areas, coming purchasing for children from a mix of high and (Suburban Mindsets) low affluence (primarily Liberal Opinions and Upper Floor Living segments)

Pacha Ibiza, Pacha Group 34 35 DEMOGRAPHICS & ATTENDANCE DEMOGRAPHICS & ATTENDANCE

DANCE 30% 12% MIDLANDS 20% 19% CATALUÑA FESTIVAL 29% LONDON 79% 17% MADRID 74% 20-24 EMPLOYED 30-34 EMPLOYED 60% 18% ATTENDEE YEARS OLD 51% 49% 12% SOUTH EAST YEARS OLD 40% ANDALUCÍA PROFILE 29% BACHELORS DEGREE 19 % UNIVERSITY 27% A-LEVELS OR POSTGRADUATE DEGREE 55% POSTGRADUATE EQUIVALENT 32% QUALIFICATION (OR VOCATIONAL QUALIFICATION) QUALIFICATION 40% 17% 38% 19% 27% 33% IN A RELATIONSHIP IN A RELATIONSHIP MARRIED SINGLE MARRIED SINGLE OR LIVING WITH PARTNER OR LIVING WITH PARTNER

12% MIDLANDS 19% CATALUÑA IBIZA 47% 23% 31% LONDON 88% 18% MADRID 83% ATTENDEE 20-29 10% SOUTH EAST EMPLOYED 30-34 20% ANDALUCÍA EMPLOYED YEARS OLD 47% 41% 59% PROFILE 53% YEARS OLD 25% BACHELORS DEGREE 21% UNIVERSITY 27% DEGREE 58% POSTGRADUATE A-LEVELS OR POSTGRADUATE EQUIVALENT 35% QUALIFICATION (OR VOCATIONAL QUALIFICATION) QUALIFICATION

35 % 33% 32% 19% 40% 16% SINGLE MARRIED IN A RELATIONSHIP SINGLE MARRIED IN A RELATIONSHIP OR LIVING WITH PARTNER OR LIVING WITH PARTNER

DANCE 13% MIDLANDS 21% CATALUÑA 29% 18% EVENT/CLUB 26% LONDON 75% 16% MADRID 20-24 14% SOUTH EAST EMPLOYED 25-29 17% ANDALUCÍA 74% 41% 59% ATTENDEE YEARS OLD 56% 44% YEARS OLD EMPLOYED PROFILE 30% BACHELORS DEGREE 17 % UNIVERSITY 26% A-LEVELS OR POSTGRADUATE DEGREE 55% POSTGRADUATE EQUIVALENT 32% QUALIFICATION (OR VOCATIONAL QUALIFICATION) QUALIFICATION 44% 39% 21% 20% 31% 19% MARRIED MARRIED SINGLE IN A RELATIONSHIP SINGLE IN A RELATIONSHIP OR LIVING WITH PARTNER OR LIVING WITH PARTNER DEMOGRAPHICS & ATTENDANCE DEMOGRAPHICS & ATTENDANCE

ATTENDANCE IN THE LAST YEAR OTHER LIVE EVENTS ATTENDED

Two in five (39%) of dance festival, 80% to a dance to go to beach clubbing Compared to the overall attendees in the UK went gig and 66% to a beach destinations, a similar population, dance Music events to a dance festival in clubbing destination proportion to club / attendees are going to • UK attendees are almost twice more likely to the last year, a similar venue events and 65% more live events in general, have attended a music concert/ gig (78% vs. 42% proportion (42%) to a Similarly, in Spain just over to dance festivals and this is true across both of the overall population) and almost three times beach clubbing destination a third (36%) attended markets. Both the British and more likely to have been to a music festival (63% and just over half (51%) dance festivals and a the Spanish are into music, similar proportion (37%) What was the best thing vs. 23% of the overall population) in the last year to a gig in a club/ venue. that you remember arts and family attractions, went to club events in the about the experience? and sports events are • In Spain, 81% of dance attendees went to at Club event attendees are last year, whilst more (60%) particularly popular least one music concert in the last 12 months the most likely to attend went to beach clubbing ‘Favourite DJs in Spain (vs. 61% of the overall population) more frequently (close to a destinations. Beach being yards third of those who attended clubbing attendees are away mixing in the last year went to 5 the most likely to attend sounds as the or more of these events). more frequently (15% of Sport events last year’s beach clubbers whole crowd • Next year is looking even attended more than revel’ • In Spain, 80% of dance attendees went to at more promising, with 5 times). least one sport event in the last year (vs. 58% projected increase in Festival attendee, Female, of the general population) attendance for all three • Over the next 12 35-59, UK, South West types of events: 69% months, 70% of Spanish planning to go to a attendees are planning

38 39 DEMOGRAPHICS & ATTENDANCE DEMOGRAPHICS & ATTENDANCE DEMOGRAPHICS & ATTENDANCE

OTHER LIVE EVENTS ATTENDED Ticketmaster’s transactional About half of attendees in One in four attendees data for the UK shows that each market rely on social refer to ticketing overall dance attendees media, with Facebook websites as a source of in the UK buy more being the most frequently information, of which UK SPAIN tickets than the average used (by 89% of these), the majority use the Ticketmaster customer, and followed by Twitter and official website and 17% 14% 5% 3% DANCE FESTIVAL to more varied (non-dance) Instagram. about half rely on the 18% 12% 4% 2% events. Large proportions of ticketing provider’s dance customers (47% for And with word of mouth, Facebook page. DANCE EVENT 16% 19% 9% 7% festivals and 62% for club it’s mainly friends’ IN CLUB 17% 13% 5% 2% events) make non-dance recommendations or their purchases on Ticketmaster posts on Facebook that are BEACH CLUBBING 24% 13% 3% 2% or TicketWeb (club event most likely to raise interest DESTINATION 26% 23% 7% 4% attendees have particularly and awareness. higher affinity towards HOLIDAY 32% 39% 8% 4% family events, and festival HOW DO THEY FIND OUT ABOUT EVENTS? ABROAD 36% 30% 6% 3% attendees towards arts).

25% 36% 13% 6% UK 52% FAMILY SOCIAL MEDIA 56% ATTRACTIONS 23% 33% 12% 7% SOURCES OF SPAIN 43% WORD OF MOUTH INFORMATION 52% MUSIC 28% 33% 11% 5% CONCERT/ GIG 31% 34% 11% 5% Dance attendees rely on a 33% MEDIA (RADIO, TV) wide variety of sources to 27%

26% 31% 11% 4% find out about events. It is ART EXHIBITION 28% (GALLERIES & MUSEUMS) EVENT POSTERS 23% 38% 15% 7% generally the widely spread 16% channels such as social 26% TICKETING WEBSITES 29% 26% 9% 5% media, word of mouth and 26% THEATRE 26% 27% 11% 4% traditional media that are predominantly used, with RECOMMENDATIONS FROM 22% 1 PAST EVENTS ATTENDED 12% specialist sources such as SPORTING 26% 24% 10% 9% EVENT dance blogs being used MUSIC PLATFORMS 20% 22% 28% 15% 14% /SUBSCRIPTIONS 2 to 4 only by a minority (12% in 26%

the UK and 14% in Spain). 12% 32% 20% 7% 3% DANCE BLOGS MUSIC 14% 5 to 9 FESTIVAL 33% 20% 6% 3% 16-19 year olds SUBSCRIPTION TO CLUBS/ 3% are the most DANCE VENUES MAILING SERVICE 28% 19% 7% 3% likely to rely on 10 times COMEDY social media SHOW 26% 26% 7% 2% SUBSCRIPTION TO RECORD LABELS UPDATES/MAILING LIST 1% and TICKETING WEBSITES

40 41 DEMOGRAPHICS & ATTENDANCE DEMOGRAPHICS & ATTENDANCE

BARRIERS TO ENTRY

Lack of interest in dance gradually for the older increase in the number travel as more off-putting not having someone to go music is the primary reason demographics – which of new dance attendees. (whilst cost comes second, with is more of an obstacle). What was the best thing that you remember about people don’t go to dance comes as no surprise Even so, only a very particularly stronger the experience? events (as stated by those given the fact that most small minority of non- amongst festival goers). Having to book in advance who did not attend a dance attendees fall in the under attendees (4% in the UK is not an issue for Spanish ‘Being in a united event in the last three 35 age bracket. and 8% in Spain) are Events being too busy is Ibiza goers (like it is for one of the main barriers Brits), but the destination crowd of like- years). Although slightly saying they are likely to minded music fans’ fewer are being put off by Whilst music taste and attend in the next year. amongst Spanish club being perceived as ‘over- this in the UK (one in four) age are things that can’t event attendees, which rated’ is likely to be more Festival attendee, Female, 25–29 UK, West Midlands than Spain (a third), they be controlled by event On the other hand, doesn’t come across that of a barrier. are the category least likely promoters, other barriers there are things that can strongly in the UK (where to be convinced to attend that people mentioned potentially stop current these types of events in could, in fact, be dance attendees from WHAT PUTS PEOPLE OFF FROM ATTENDING DANCE EVENTS? the future. addressed. going as well or going NON - ATTENDEES more frequently. Whilst in Tweaks in price, promoting UK 23% Interestingly, age is the the UK cost would be the MUSIC DOES NOT APPEAL second highest barrier more ‘intimate’ events in main inhibitor across all SPAIN 33% 33% smaller venues or more 18% (18%); this starts being a genres of dance events, TOO OLD accessible locations 18% ‘deal-breaker’ for the over Spanish attendees view 12% could all contribute to an BIG CROWDS 35 y/o and is increasing location/ the need to 14% 10% TOO EXPENSIVE 7%

7% NO INTEREST IN LIVE ENTERTAINMENT 5%

6% LOCATION COST – likely to be the main barrier 5% amongst attendees in UK, across all 5% types of dance events (26% of Ibiza CRIME, DRUGS 5% attendees, 30% of club attendees, 38% of festival attendees) CAN’T COMMIT TOO FAR IN ADVANCE 5% 4%

4% NO ONE TO GO WITH LOCATION – likely to be the main 4% barrier amongst attendees in SPAIN, 4% OTHER across all types of dance events 3% 3% 3% INCONVENIENCE 2% Overall, non attendees are very unlikely to attend 3% QUEUING TO BUY TICKETS any dance event in the future – however a very 2% small minority (4% in the UK and 8% in Spain) 2% TOO YOUNG would do so. 0%

42 43 INTERVIEW: ENRIQUE FERNÁNDEZ PIGEM

As for the culture of dance their niche in the market EFP: In Ibiza I’d expect INTERVIEW: music, the audience has with underground nights. some venues to reduce changed in the past few the number of weekly ENRIQUE FERNÁNDEZ years and now people seem For example at Pacha parties and some even to care less about which we have Insane on closing, the same with track the DJ is playing; just Friday nights, a night for some boat parties. In PIGEM as long as it’s the #1 DJ underground lovers, with the past five years we’ve they’re seeing. artists like John Digweed, seen more clubs, beach THE SENIOR SALES MANAGER FOR PACHA IBIZA OFFERS MK or Hot Since 82. We clubs and boat parties INSIGHTS INTO THE EVER EXPANDING DANCE CULTURE Q: Is there still a started this residence in emerging; there’s such demand among fans 2013 and it’s been a huge OF THE WHITE ISLAND an unbelievable and for an underground success for us, and in the large variety of options dance culture? same way other clubs with for clubbers and yet not Q: How important is like Tomorrowland or Ultra an underground culture Enrique Fernández EFP: Yes, there is. It’s true enough demand to cover the club scene to the Music Festival stream their have had good seasons Pigem has been at that we are in a boom of all these new parties. The continued growth of the events, making it more in Ibiza. Pacha Group since EDM parties with superstar ‘cake’ of tourism has dance music business? accessible to a bigger 2004, heading up DJs like David Guetta, Steve Q: How do you see the slightly increased but audience. That audience distribution, tracking Aoki or Avicii working really dance music business now there are many more EFP: Clubs, and especially then sees a line-up at and liquidation of well, but not everybody likes evolving in Ibiza over the players in the game, the ones in Ibiza, have an the club and remembers official tickets for this type of music and there next few years? there’s not enough slices important role in the dance ‘Oh, I saw this DJ at UMF both Pacha Ibiza and are venues that have found for everybody. Destino Ibiza music business. For five and it was amazing’. It’s months the most important a way to make the genre DJs in the world, of all more accessible, especially genres, make Ibiza their online, and that benefits home, and what becomes the clubs. a trend here slowly moves to the rest of the globe. It’s Q: How has the boom the same with the business in EDM altered the side, some of the clubs in business and culture Ibiza are considered the of dance music? best in the world, and many ENRIQUE FERNÁNDEZ PIGEM EFP: On the side of the SENIOR SALES MANAGER, things that you see in Ibiza business, the fees for artists PACHA IBIZA are adapted abroad. have increased notably. DJs It all goes together, the rise are the stars of the show of the genre, of festivals and they know it, and they and of clubs. I find it get paid accordingly to the positive that major festivals expectation and sales they generate, like footballers. 44 45 Preferences & MOTIVATIONS

47 PREFERENCES & MOTIVATIONS

UK PREFERENCES FESTIVALS CLUBS IBIZA THE MUSIC

& MOTIVATIONS 15% 15% 18% 16-19 year olds and females are more likely to attend a WORLD FAMOUS DJS club event for the SOCIAL MOTIVATIONS TO ATTEND 7% 9% 7% MUSIC 29% ASPECT (particularly to join So, what brings people • The experience (such – shows that the social DISCOVERING NEW MUSIC/GENRES/ARTISTS their friends) together at dance events? as the dancing/ raving, element of dance events ‘once in a lifetime appeals strongly, and 4% 7% 5% 25-29 are the most likely to Content (the music) and feel club events are a experience’, ‘must have reasons for attendance THE ATMOSPHERE the social element of for a true dance fan’) go beyond the obvious MUST-HAVE FOR A TRUE 17% 15% 15% the experience are the interest in the music DANCE FAN strongest motivations, Looking at motivations genre or famous DJs. CUTTING EDGE VISUAL TECHNOLOGY although they differ in terms thematically, the music 5% 4% of priority or intensity both overall is a greater pull for • Dance events are very 4% by market, and by type of festival and gig attendees much social events, 23% ATMOSPHERE GETTING IN AN ALTERED STATE dance event. Overall, these in the UK, whilst the social being attended in 4% 4% 4% can be grouped into four element of the experience groups of three to five Ibiza attendees are the least broad themes: (going with friends, meeting people (over half) or JOINING MY FRIENDS likely to attend an event for new people) is most even larger. One in 14% 11% 15% • The music (in general, important for Ibiza goers. three dance festival the MUSIC; Festival attendees as well as interest in However for the Spanish attendees, and slightly MEETING NEW PEOPLE are the least likely to go for discovering new artists or attendees, the atmosphere fewer Ibiza goers (one 10% 8% 7% the SOCIAL ASPECT music genres and seeing is the strongest reason in four) go in groups SOCIAL 27% world famous DJs) to attend for Ibiza goers, of six or more people CONNECTING WITH LIKE MINDED PEOPLE 4% 5% • The atmosphere (in whilst festival goers are 6% equally driven by the music • 85% have met other general, as well as visual THE DANCING/RAVING and the experience. Club people at a dance technology or others, 10% 10% 12% attendees in Spain prioritize festival, the majority of such as ‘getting in an which stayed in contact IBIZA FESTIVALS CLUBS altered state’) elements of the experience ONCE IN A LIFETIME EXPERIENCES (particularly the dancing) with them (88% in UK MUSIC 25% 31% 30% 7% 6% 4% • The ‘social’ element and 86% in Spain) One over anything else. Joining EXPERIENCE 21% ATMOSPHERE 26% 23% 23% in three meet between (the people): joining friends is a recurring theme; MUST HAVE FOR A DANCE MUSIC FAN SOCIAL 28% 24% 27% friends and, to a lesser this, together with wanting three to five people at 5% 6% 4% EXPERIENCE 21% 21% 20% extent, meeting to meet new people – which a festival new people is also important even though to a lesser extent

48 49 PREFERENCES & MOTIVATIONS PREFERENCES & MOTIVATIONS

Recalling the most SPAIN memorable experience dance 19% 21% of attending a dance event, IBIZA FESTIVALS CLUBS festivals FREEDOM Escapism THE MUSIC respondents primarily refer to the escapist nature of 13% 14% 13% 20-29 year olds are the most DANCE EVENT likely to attend a club or the experience and the 25% 17% WORLD FAMOUS DJS dance festival because it is a freedom associated with IN CLUB BEING WITH FRIENDS FREEDOM it, as well as the people 4% 6% 6% once in a lifetime experience MUSIC 26% they connected with. A vivid DISCOVERING NEW MUSIC/GENRES/ARTISTS picture of the atmosphere IBIZA 23% 20% (the music, the lasers, the 4% 7% 6% CLUBBING FREEDOM Escapism artists, the ‘madness’ of THE ATMOSPHERE the crowd) comes across 18% 12% 11% particularly strong in relation to festivals. CUTTING EDGE VISUAL TECHNOLOGY

5% 7% 6% • One in five attendees of dance festivals 24% ATMOSPHERE GETTING IN AN ALTERED STATE mentioned freedom 9% 6% 7% (in the UK) and Ibiza attendees are escapism (in Spain) JOINING MY FRIENDS more motivated by the 12% 8% 9% ATMOSPHERE and SOCIAL • One in four dance gig ASPECT and less by the attendees primarily MEETING NEW PEOPLE MUSIC and EXPERIENCE associate the event with 10% 8% 7% being with friends (UK), SOCIAL 25% whilst losing inhibitions CONNECTING WITH LIKE MINDED PEOPLE and freedom are 6% 6% 5% the primary associations amongst Spanish THE DANCING/RAVING attendees 7% 15% 17% IBIZA FESTIVALS CLUBS • Similar to dance ONCE IN A LIFETIME EXPERIENCES MUSIC 21% 27% 25% |festivals, attendees 2% 7% 9% associate Ibiza clubbing

EXPERIENCE 25% ATMOSPHERE 33% 24% 21% with freedom (UK) and MUST HAVE FOR A DANCE MUSIC FAN SOCIAL 28% 21% 22% escapism (Spain) 9% 5% 3% EXPERIENCE 18% 27% 28%

50 51 PREFERENCES & MOTIVATIONS PREFERENCES & MOTIVATIONS

With regards to clubbing Although the parties are shows and other visual WHAT KIND OF MUSIC ARE THEY INTO? in Ibiza, for Brits the music amongst the main criteria effects are also Despite music being one also appeal to people with Based on Ticketmaster’s (line-up/ best DJs) and the in club selection for the more relevant for the of the main motivations to a wider spectrum of music transactional data for the quality of the parties are Spanish as well, the ‘buzz’ Spanish audience. attend, regardless of the preferences, particularly the UK, the highest overlap equally important, followed is almost as important type of dance event, not more ‘mainstream’ genres between customers who by the people or the ‘crowd’, (37%) and is actually twice all attendees of festivals, like Pop and Rock. buy dance festival tickets when selecting which clubs more influential than for gigs or clubbing by the and tickets to other music to go to. Ibiza goers in the UK. Laser beach have selected In both markets however, events is for ‘lad rock’ dance amongst their top festival attendees are most (such as Kings of Leon), likely to be more into dance WHAT DRIVES THEIR PREFERENCES FOR CLUBS THEY GO TO music preferences. The ‘90’s pop’ favourites (such music genre itself is on the compared to Ibiza goers as Robbie Williams) and or club event attendees; UK LINE-UP: THEY BRING 37% ‘favourites list’ for 63% of ‘noughties pop’ (including this difference between SPAIN THE BEST DJ’s 22% UK attendees and fewer Rihanna) as defined the groups of attendees is 37% Spanish attendees (51%). by its internal genre THE BEST PARTIES stronger in Spain though. 42% Dance events therefore clusterisation.

35% I LIKE THE CROWD LISTEN TO DANCE 14% 74% dance festivals ATTENDEES 72% – BY TYPE OF 31% THEY HAVE A GOOD REPUTATION DANCE EVENT 72% DANCE CLUB ATTENDEES 62% IN GENERAL 28% ATTENDED 69% IBIZA GOERS 55% THE LASER SHOWS/LIGHTS/OTHER 22% SPECIAL EFFECTS 34%

75% UK THEY HAVE GOOD OFFERS 21% 63% 63% 66% (i.e FREE DRINKS, DISCOUNTED ENTRY ETC) 16% SPAIN TOP BEST PARTIES 20% BEST DJS 53% CONVENIENCE 51% 47% 17% THE ‘CROWD’ 41% 41%

19% THEY’RE MORE AFFORDABLE THAN THE OTHERS 9% TOP 28% BEST PARTIES 27% 21% 23% ‘BUZZ’ (I HEARD MANY PEOPLE 20% EXCLUSIVITY: CELEBRITIES 19% TALKING ABOUT THEM’) USUALLY GO THERE 16% LASER SHOWS/ VISUAL EFFECTS

I HEARD MANY PEOPLE 18% TALKING ABOUT THEM 37%

3% VIP TABLE/EXPERIENCE 2% POP DANCE ROCK R’n’B HIP HOP INDIE METAL URBAN 52 53 PREFERENCES & MOTIVATIONS PREFERENCES & MOTIVATIONS

But with dance being as the top preferences, and PREFERRED DANCE SUB-GENRES fragmented a genre as it Progressive Trance, Trap is, fans’ affinities are also and Breaks at the bottom). URBAN 63% diverse. In the UK, there is However in Spain we see (INCLUDES 45% generally a wide appeal of a much stronger affinity HIP HOP) most dance sub-genres, towards Techno, Electro 48% TOP DRUM TOP PREFERENCES AMONGST & BASS 26% with little difference House and EDM, with half DANCE FANS between the top and of respondents selecting 47% bottom of the preference these as their top choices. EDM 47% URBAN (63%) 41% DRUM & BASS (48%) list (with Urban genres, ELECTRO Drum & Bass, Electro House HOUSE 50% ELECTRO HOUSE (41%) DEEP HOUSE (38%) and EDM being amongst 40% DUBSTEP 24% EDM (47%)

DEEP 38% HOUSE 25% FESTIVAL AND IBIZA 36% attendees are more likely to prefer: TECHNO 51% DRUM & BASS (56%) 36% GARAGE 14%

35% BASS 15% TOP FUNKY 33% TOP PREFERENCES AMONGST HOUSE 27% DANCE FANS PROGRESSIVE 29% HOUSE 23% TECHNO (51%)

TECH 26% ELECTRO HOUSE (50%) HOUSE 26% EDM (47%)

TECH 26% TRANCE 17% Compared to the UK, preference PROGRESSIVE 21% for TECH TRANCE and ELECTRO TRANCE 19% HOUSE is stronger in Spain

TRIBAL 17% HOUSE 14% Little difference in preference between the 3 groups of dance 16% TRAP event goers except for CLUB 10% ATTENDEES who are less likely 15% to prefer TECHNO BREAKS 11%

54 55 PREFERENCES & MOTIVATIONS PREFERENCES & MOTIVATIONS

FAVOURITE DJS AND VENUES AMONG DANCE FANS UK FAVOURITE DJS – AMONG DANCE FANS

Two in five dance fans* Avicii, but a wider range in Spain have a clear of DJs paint a more Swedish favourite DJ, David Guetta. diverse picture of dance House DJ Bondax Mafia Sammy Although there were other preferences amongst the Magnetic Man Skrillex names mentioned (mostly Brits (Tiësto, Disclosure, Pete Tong Tiësto, Avicii), the ‘celebrity Martin Garrix, Armin van Disclosure DJ’ culture is stronger in Buuren, Fatboy Slim, Annie Chase & Tiësto Status Daft Spain than in the UK, where Mac, deadmau5 etc). Punk Knife Fatboy The preferences are more Party Slim Chemical fragmented/ varied. Calvin Brothers Harris is the leading name *defined as dance attendees who selected dance among their favourite amongst UK favourites, music genres – 63% of UK dance followed by Guetta and attendees and 51% of Spanish David Avicii Calvin Guetta Harris Armin van Martin Diplo Buuren Annie Garrix Mac DJ EZ The Prodigy

Tough Carl Love Cox deadmau5 Rudimental DJ Shadow Faithless Paul van DJ Dyk Fresh

Moby Major Lazer Sigma

TOP 5 CALVIN HARRIS 11% DAVID GUETTA 8% AVICII 5% TIËSTO 4% FATBOY SLIM 2%

56 57 PREFERENCES & MOTIVATIONS PREFERENCES & MOTIVATIONS

SPAIN As for favourite venues, as Creamfields UK festival. FAVOURITE DJS – AMONG DANCE FANS it’s mostly the big club For Spanish dance fans names in London that are it’s the outdoors spaces the favourites for UK dance that are most appealing Axwell & Ingrosso fans (Fabric, Ministry of for dance events (beach, Ben UFO Sound, Warehouse Project), stadiums, festivals etc.), Bob Sinclar deadmau5 however clubs and parties followed by Razzmatazz AronChupa DJ in Ibiza are also frequently and Ibiza clubs. Arce Gigi Armin Hardwell mentioned (particularly D’Agostino van Pacha and Cream), as well Nervo Buuren Daft Skrillex Punk Steve Aoki UK FAVOURITE VENUES – AMONG DANCE FANS

Oliver Tiësto Avicii Creamfields Round House Heldens Warehouse David O2 Project Ministry of Sound Cream Carl Guetta Mint Steve Laurent Warehouse Cox Dimitri Aoki Calvin Garnier Ibiza Koko Vegas Harris Corsica & Like Mike Fabric Heaven Studios Brian Cross Pacha Rainbow Nicky 3LAU Romero Village XOYO Beauty Underground Gatecrasher Brain Oceana Eyes of Afrojack Dr Brixton Academy Providence Kucho! DJ Kiko Fever James Ray Blake SPAIN FAVOURITE VENUES – AMONG DANCE FANS Benny Bryan Benassi Kearney Hector Calderon Space Football stadium Ibiza

TOP Sonar Beach Razzmatazz Festival 5 DAVID GUETTA 39% Dreambeach Pacha TIËSTO 8% Tomorrowland AVICII 8% Amnesia Palacio De Los Discoteca Deportes SKRILLEX 4% Ushuaia ARMIN VAN BUUREN 3% outdoors Madrid

58 59 PREFERENCES & MOTIVATIONS PREFERENCES & MOTIVATIONS

DANCE FESTIVALS

Most festival goers in the UK Although actual Tomorrowland. This Similarly amongst have a strong appeal, such However, local Spanish have heard of the majority attendance is highest for does not come as a Spanish festival goers, as Tomorrowland (46%), festivals have a greater of the big, European local UK festivals (with 35% surprise as more than half attendance levels are Amsterdam Open Air (39%) pull for Spanish attendees festivals – awareness having been to Creamfields (52%) find international highest for festivals in and Ultra Europe (37%). (than UK festivals on ranges from 44% who have and 30% to Parklife), festivals more appealing Spain (especially Sonar, Interestingly, the Ozora UK attendees), with heard of Sensation and there is a strong interest than local festivals. Barcelona Beach Festival festival in Hungary is just as 65% finding these Eastern Electrics, to in international festivals and Monegros Desert), but well-known as some of the more appealing than 76% who heard of as well, with 31% saying some international ones most popular local festivals, international (35%). Creamfields UK. they would like to go to Barcelona Beach included.

TOP 10 FESTIVALS FOR UK ATTENDEES (RANKED BY AWARENESS) TOP 10 FESTIVALS FOR SPANISH ATTENDEES (RANKED BY AWARENESS)

AWARE BEEN TO WOULD LIKE TO GOAWARE BEEN TO AWAREWOULD LIKE TOBEEN GO TO WOULD LIKE TO GOAWARE BEEN TO WOULD LIKE TO GO TOP 3 WOULD LIKE TO GO

TOMORROWLAND (46%), CREAMFIELDS CREAMFIELDS CIRCUIT FESTIVAL CIRCUIT FESTIVAL AMSTERDAM OPEN AIR (39%) 76% 35% 25% 76% 35% 25% 84% 18% 23% 84% 18% 23% ULTRA EUROPE (37%)

PARKLIFE FESTIVAL PARKLIFE FESTIVAL MONEGROS DESERT FESTIVAL MONEGROS DESERT FESTIVAL 71% 30% 23% 71% 30% 23% 83% 27% 25% 83% 27% 25%

SW4 SW4 SONAR SONAR 62% 22% 21% 62% 22% 21% 83% 37% 28% 83% 37% 28%

HIDEOUT FESTIVAL HIDEOUT FESTIVAL AQUASELLA AQUASELLA 61% 22% 23% 61% 22% 23% 82% 22% 26% 82% 22% 26%

GLOBALGATHERING GLOBALGATHERING OZORA FESTIVAL OZORA FESTIVAL 59% 20% 24% 59% 20% 24% 81% 13% 23% 81% 13% 23%

BUGGED OUT WEEKENDER BUGGED OUT WEEKENDER BARCELONA BEACH FESTIVAL BARCELONA BEACH FESTIVAL TOP 58% 18% 23% 58% 18% 23% 80% 35% 30% 80% 35% 30%

ELECTRIC DAISY CARNIVAL ELECTRIC DAISY CARNIVAL 4EVERY1 4EVERY1 MOST WELL-KNOWN AND 58% 19% 22% 58% 19% 22% 79% 14% 26% 79% 14% 26% ATTENDED FESTIVALS ARE LOCAL TOP AMSTERDAM OPEN AIR AMSTERDAM OPEN AIR CREAMFIELDSBALATON SOUND BALATON SOUND 4 SPANISH LOCAL 55% 20% 23% PARKLIFE55% 20% 23% 79% 15% 24% 79% 15% 24% FESTIVALS MAKE UP SW4 THE TOP 4 IN TERMS TOMORROWLAND TOMORROWLAND BOOMTOWN BOOMTOWN TOMORROWLAND had the largest OF AWARENESS AND 53% 14% 31% 53% 14% 31% 79% 17% 23% 79% 17% 23% proportion of respondents wanting ATTENDANCE. to attend in the future (31%), with NOISILY FESTIVAL NOISILY FESTIVAL OUTLOOK FESTIVAL OUTLOOK FESTIVAL little difference in appetite for the 46% would like to go 79% 18% 25% 79% 18% 25% 53% 17% 22% 53%remaining17% festivals 22% to TOMORROWLAND in the future 60 61 PREFERENCES & MOTIVATIONS PREFERENCES & MOTIVATIONS

IBIZA CLUBS IBIZA CLUBS AWARENESS AND ATTENDANCE

UK AWARE BEEN TO As for Ibiza, the British have FAVOURITE CLUBS SPAIN What was the best thing that you remember about different preferences to the experience? IBIZA ROCKS PRIVILEGE the Spanish when it comes 18% 81% 47% 69% 32% AMNESIA UK to favourite clubs – Pacha 15% 81% 47% 72% 31% ‘Everything SPAIN and Ushuaïa are the clear 15% PACHA DC10 IBIZA ROCKS just went mad ‘leaders’ amongst the 10% 79% 39% 68% 26% 83% 58% 62% 16% when the bass Spanish clubbers, though 14% SPACE 13% AMNESIA THE ZOO PROJECT dropped... it the difference between the 77% 35% 68% 30% was literally mad most and least favourite is HARD ROCK HOTEL 13% 13% 81% 45% 63% 18% 9% not massive for British Ibiza HARD ROCK HOTEL USHUAIA and impossible 13% 76% 37% 67% 30% goers (18% mentioning OCEAN BEACH to describe, I’d 10% 74% 29% 66% 28% Amnesia vs. 7% referencing totally do it all 13% SPACE SANKEYS IBIZA Destino). We see a similar PACHA 22% 74% 33% 67% 28% over again’ trend on favourite parties, 75% 36% 61% 22% 13% Festival attendee, Male, with Spanish attendees ES PARADIS EDEN DESTINO 10% 20–24 UK, North West most likely to prefer 72% 34% 65% 26% 12% THE ZOO PROJECT 66% 23% 61% 19% SuperMartXé and Matinee, 6% and the Brits more into OCEAN BEACH CAFE OLE 12% 72% 33% 60% 17% private parties, Insane SANKEYS IBIZA 10% 66% 24% 67% 27% or Together. EDEN 11% ES PARADIS 9% In terms of actual 69% 35% IBIZA ROCKS, DESTINO, and THE ZOO PROJECT 66% 26% attendance, Ibiza Rocks, CAFE OLE 11% have a younger crowd compared to the others 10% (more under 30s); ES PARADIS and USHUAÏA are Pacha and Hard Rock Hotel 11% more likely to have 40 y/o attendees attract most of the British PRIVILEGE Over half of each club’s attendees are under 13% the age of 30; SANKEYS has the youngest clubbers, whilst Pacha SANKEYS has the highest proportion of females 11% demographics (64% under 30 y/o) whereas (43%), although males still dominate attendance USHUAIA and Amnesia are more 18% SPACE has the oldest (46%) for the clubs; ZOO PROJECT and AMNESIA have likely to be frequented 10% the highest proportion of males (64%) out of all DC10 PRIVILEGE has the highest proportion of males by the Spanish. 8% the clubs (61%), IBIZA ROCKS has the lowest (49%) 7% DESTINO Biggest drinkers: DESTINO (39% have 5+ drinks) 8% AMNESIA attendees drink the most (61% have 5+ drinks, 25% 10+ drinks) DESTINO attracts attendees who are more likely to be motivated to go to Ibiza clubs because they PACHA, SPACE, and SANKEYS have more are affordable (17%);DC10 attendees go Spanish attendees tend to favour clubs in the Playa d’en Bossa/ attendees motivated to attend because they because it’s convenient (44%) Ibiza town area. The British do not seem to follow a pattern have the best parties (46%); AMNESIA and HARD ROCK HOTEL for the line-up (47%), DESTINO attendees are more likely to feel dance CAFÉ OLE for visual effects (32%) is a big part of their life

62 63 OUTLOOK FESTIVAL INTERVIEW: JAMES SUTCLIFFE

of this experience. Venues Q: What core elements night has a journey. The INTERVIEW: are now installing incredible make up a successful combination of the music light rigs and LED screen dance music night? and the production are JAMES SUTCLIFFE walls, enabling laser shows two massively important and the introduction of VJs JS: Successful dance music ingredients that create THE HEAD OF TOURS AND EVENTS AT MINISTRY OF SOUND to enhance the production. nights, when you break the ‘experience’. them down, are products. OUTLINES THE CHANGING ROLE OF CLUB CULTURE As well as the main room, For me, the best nights pay Q: How do you see venues are also embracing close attention to detail the dance music the explosion of VIP culture. across all elements of the business evolving? James Sutcliffe runs Q: What in your mind has the average festival goer, The table service, sparkler product mix. Creatively Ministry of Sound’s driven the recent boom was a pretty intimidating led bottle shows and they have a strong concept JS: I see brands playing a global touring in dance culture? experience. These days comfortable surroundings and visual identity. The big part in the evolution business, overseeing most major festivals are are a staple part of many marketing and promotion of the business. Dance 1000+ events a year JS: There are several geared more towards venues now and this offers really taps into the music and its mass market in over 50 countries, contributing factors. Music dance music than any not only another revenue consciousness of the target appeal is a huge draw for in addition to helping moves in cycles. Right now other genre. stream, but a different audience and the line up brands wanting to get in foster the brand’s there are fewer kids picking kind of experience for is well thought out and front of this diverse, tech partnership and up guitars and starting Q: Many fans cite ‘the club goers. programmed to ensure the savvy, global audience. experiential activities bands. Instead they are experience’ as being a turning to electronic music, crucial component of the and I would certainly dance music spectacle. say that technology and How are venues meeting the tools that are at this expectation people’s disposal, through head on? which they can promote themselves, are far more JS: Not every venue is able abundant now. What this to diversify its offering and creates is a huge amount of in fact some venues are variety and easily accessible purely geared towards channels of consumption. the music which is just fine. Those that have the JAMES SUTCLIFFE Then there is the explosion HEAD OF TOURS & EVENTS in the number of events resources to do so have MINISTRY OF SOUND now that cater for dance certainly embraced the fact music fans in order to meet that people want to come this extra demand. away from an event and feel like they have shared Several years ago, the an experience with others. dance tent at a festival was The visual element of a an after hours affair that to show is an important part

64 65 the DANCE Culture

67 THE DANCE CULTURE

IS DANCE PERCEIVED AS ‘MAINSTREAM’?

THE DANCE CULTURE Dance has more recently not necessarily make it ‘more visible’, rather than and quite frequently been mainstream (in a bad way). inauthentic or alienating. portrayed in the media They also acknowledge One of the recurring However, this is closely On the other hand, as a genre on its way to Some dance attendees that, whether mainstream themes of the research is followed by interacting with Spanish attendees find becoming ‘mainstream’, agree that the genre is or not, there is something that dance events appeal other fans (30% find this billboard hits and celebrity and it is not uncommon becoming mainstream for everyone (diverse sub- to people on various levels, important), highlighting DJs as most important, for this to have a negative (35% in the UK, 25% in genres), and for people starting with the music again the synergy between whilst interacting with connotation. However, Spain), and three in five who don’t necessarily itself but going wider the music and the wider other fans is at the according to dance of them across both like to be associated with than that. It comes as no appeal of sharing the bottom of their priority list. attendees themselves, markets feel this is a mainstream dance, there’s surprise, therefore, when experience with like- UK attendees are actually though dance is becoming positive thing. Furthermore, always something new keeping up-to-date with minded people. Also, one in almost twice more likely increasingly popular, with their interpretation of to discover which is more the latest music trends is four believes that following to feel interacting with more exposure through ‘mainstream’ is more likely ‘underground’. the most important aspect artists and events on social other fans is important, radio, TV and clubs (making to be translated in positive of the dance culture for media is important – this compared to the Spanish. it appealing to a younger, terms such as ‘more UK attendees. being strongest amongst wider audience), this does popular’, ‘wider reach’, Ibiza goers in the UK. STATEMENT: DANCE MUSIC IS THE POSITIVES revolve around the fact BECOMING MAINSTREAM that dance is fun to listen to, quality of gigs is increasing (as they attract popular AGREE DJ names and venues are impressive/ big stadiums) and this type of music is enjoyed in a social environment (nights out, parties 35% 25% with friends, big festivals).

THE DOWNSIDES are that some people feel that increased commercialization would impact the quality of the music (becoming less original), whilst gig prices POSITIVE might be going up. There is also the ‘youth element’ of it – with good quality festivals and dance events attracting a younger 57% 61% than average crowd who ‘attend for the wrong reasons’ (rather than to enjoy the atmosphere or the music) which usually generates ‘bad press’ UK SPAIN

68 69 THE DANCE CULTURE THE DANCE CULTURE

Dance is also seen to Reading/ Leeds and V) are Ticketmaster’s CONTENT CONSUMPTION be setting the agenda putting more emphasis transactional data for influencing/ infiltrating on bigger dance stages the UK is showing a 29% Generally, UK attendees are MINI PROFILE: ‘I PRODUCE DANCE MUSIC’ popular culture (rather and/ or are more likely to increase in the number more likely to believe that than the other way round). bring DJs as headliners. At of ‘mainstream’ festival dance music is reflected the same time, dedicated customers who purchased This is also reflected in in their lifestyle, compared dance festivals (EDC, tickets to dance festivals 15% NORTH WEST MORE LIKELY TO BE festival line-ups, where to the Spanish, with one EMPLOYED AND LESS Creamfields etc.) are between 2012-2014. 26% LONDON LIKELY TO BE STUDENTS traditional mainstream/ in five saying they listen to COMPARED TO NON- as popular as ever, so 11% SOUTH EAST pop or urban festivals dance outside of the events 60% PRODUCERS there seems to be no (such as T in the Park, they go to, and slightly cannibalisation there. Lovebox, Wireless, fewer (18%) agreeing that dance is a big part of their ETHNICITY: Fewer respondents who identify as white produce music. Higher proportion of self-identifed Asian In 2012 0.4% of Reading and lives. Their attitudes do not or Asian British Leeds customers went on to differ greatly by the type PURCHASED 1.98 DANCE purchase a dance festival the of dance event attended; LESS LIKELY TO HAVE CHILDREN FESTIVAL FOLLOWING 1.72 next year, in 2014 that had however, the frequency of YEAR 1.53 risen to 1.5% attendance in the last year ‘Dance is a big ‘Following is more influential, with part of my life’ artists on 2012 2013 2014 heavy attendees (i.e those 70% of producers agree with this, social media EVENT YEAR who went to 5+ events) vs 12% of non-producers being more likely to agree is important’ Ticketmaster’s transactional data for the UK is showing that more and more customers are going with each of the statements. 67% of producers from mainstream festivals to dance festivals agree, vs. 19% of Access to more affordable ‘Interacting with non-producers technology makes it easier like-minded people for non-professionals to is important’ also produce this kind of 72% of producers agree, ‘Dance is music, which is another vs. 23% of non-producers defining aspect of the becoming dance music culture. This mainstream’ is also reflected in the 66% of ‘Dance is mainstream research, which shows that producers agree – and it’s a positive thing’ vs. 32% of non- one in ten of UK attendees producers (and fewer, 5%, in Spain) 80% of producers agree vs. 53% of non-producers produce electronic music.

70 71 THE DANCE CULTURE THE DANCE CULTURE

Social media is an integral • UK Ibiza attendees Strictly in relation to Half of attendees in MINI PROFILE: ‘I CONTRIBUTE TO DANCE BLOGS’ part not only of the are the most likely to dance festivals, Facebook both the UK and Spain attendance experience, create and share media posts are more likely contribute to dance blogs, but also of content content via platforms like to be published before though fewer than those consumption (the music) in YouTube/ Soundcloud/ the event, rather than 12% NORTH WEST MORE LIKELY TO BE who are active (create EMPLOYED AND LESS general. An overwhelming Vine, and to post on as it’s developing or or share content) on 29% LONDON LIKELY TO BE STUDENTS COMPARED TO majority (just over 70%) use Facebook/ Twitter or use after; however this is social media. 12% SOUTH EAST 53% NON-CONTRIBUTORS Facebook and other social Snapchat during dance not the case with Twitter networks to post about their music events and Instagram, where favourite artists or events, interaction levels are ETHNICITY: Fewer who identify as white contributing to or to check or share music • Club/ venue attendees pretty consistent before, dance blogs – Higher proportion of Asian or Asian British content. Equally, 68% in the in Spain are the least during and after. UK and slightly fewer (57%) involved in creating or sharing content via in Spain also upload posts ‘Following on Facebook, Twitter or social media or blogs ‘Dance is a big Snapchat during the dance part of my life’ artists on events they go to. 24% of contributors agree with this, social media There is high social media engagement before, vs. 13% of non-contributors is important’ during, and after a festival. Only one in ten SOCIAL MEDIA respondents (UK and Spain) do not use social 67% of contributors INTERACTION AT media at any stage agree, vs. 19% of DANCE FESTIVALS ‘Interacting with like-minded non-contributors people is important’ 12% 72% of contributors agree vs. 23% of non-contributors

14% NEVER AFTER 12% 50% DURING 40% BEFORE 37% 35% 44% 40% 41% 40% 47% 57% 70% 40% 40% 71% 26% 32% 32% 30% 36% 32% 21% 37% 35% 64% 63% 34% 34% 33% 18% 21% 19% 12% 34% 33% 12% 20% 23% 14% 25% 17% 23% 24% 19% 9% 13% 9%

FACEBOOK TWITTER INSTAGRAM YOUTUBE SNAPCHAT PINTEREST

72 73 THE DANCE CULTURE THE DANCE CULTURE

IBIZA CLUBBING CLUBBING IN IBIZA

As previously noted, 56% UK SPAIN HOW DO THEY DESCRIBE IBIZA? of UK attendees and significantly more (74%) • Most attendees are not • As with UK, there in Spain have been to a exclusively committed to is a big overlap in WORLD ICONIC FAMOUS 63% PARTIES 63% COOL beach clubbing destination one destination, having attendance across DJs in the last three years, been to other beach beach destinations, 60% destinations for clubbing, such as Majorca (67%), about half of which in both A ‘MUST ATTEND’ BEST DANCE including Majorca (55%), Mykonos (23%) and FOR A TRUE DANCE markets went to Ibiza. 60% PARTY SCENE Ayia Napa (27%) and other Spanish islands MUSIC FAN Croatia (26%) such as Menorca, 58% HIGH END 55% Tenerife and EXPENSIVE 53% • 65% of UK Ibiza goers Marbella (12%) have been to the island VIP EXPERIENCE 52% multiple times (with a • 73% of Spanish Ibiza EXTRAVAGANT 52% quarter of these being goers have been to the TOO TOURISTY ‘heavy’ goers who island multiple times OVERRATED DANGEROUS 43% have been more than (with 31% being ‘heavy’ 43% 39% three times) goers who have been more than three times) • 61% are highly likely to return (highest likelihood • 70% are highly likely TOO EXPENSIVE from 30–34 y/o), whilst to return, whilst slightly TOURISTY 57% COOL slightly fewer (54%) fewer (67%) would 54% would be open to going be open to going 52% WORLD HIGH END to another similar to another similar FAMOUS 48% destination destination DJs 47% BEST DANCE Whilst the majority of PARTY SCENE 46% UK Ibiza goers think of ICONIC What was the best thing that you remember about 45% the experience? the experience mostly PARTIES by associating it with A ‘MUST ATTEND’ ‘Surrounded by people just enjoying world famous DJs (63%), FOR A TRUE 42% DANCE MUSIC FAN VIP EXPERIENCE 41% themselves – no hostility or posturing: iconic parties (63%) genuinely communal experience in and generally cool/ a EXTRAVAGANT 40% OVERRATED enjoying the music/event’ ‘must attend’ for dance 39% fans (60%), the Spanish Festival attendee, Female, 40–44 UK, South East primarily see it as too UK DANGEROUS touristy and expensive, 24% but equally cool. SPAIN 74 75 INTERVIEW: ANDREW GOLDSTONE

Q: Tiësto entered into Q: Where do you because of Swedish a partnership with 7Up anticipate the most House Mafia in 2011 INTERVIEW: focused on helping growth coming from in have moved on to more aspiring DJ talent. How dance music over the underground sounds, ANDREW GOLDSTONE important is it to support coming years? while the audience for the the next generation more commercial styles TIËSTO’S MANAGER UNPACKS THE ROLE OF DANCE MUSIC of artists? AG: I think the most growth only continues to grow as CULTURE IN A POST EDM WORLD from a territory basis will more young people come AG: Mentoring and come from Asia and South into the scene. supporting young talent America over the next few Andrew Goldstone is Q: What is it about Q: How has the explosion is something that Tiësto years. Musically, I think Q: How important is it a true dance music dance music culture that of EDM changed the takes very seriously. He house music will continue that dance retains its industry veteran, evokes such a passionate perception of dance was given a helping hand to gain in popularity, but subcultural roots? signing Fatboy Slim response from fans? globally? by numerous people over I think rather than one the course of his career predominant global sound AG: I think the back in the mid 90s underground has only to now co-managing AG: I think it’s partially AG: Dance music is and and he feels indebted to (as there was for a brief because the experiences always has been somewhat them and does his part period with ‘EDM’) there grown stronger as a one of the world’s result of so many people most successful DJs, that people have at shows of a dark horse. Despite to pay it forward. He gets will be a variety of sounds and festivals can be life having some commercial inspiration from working that will all be strong. becoming fans of dance Tiësto as part of Red music in all its different Light Management changing; standing in a success, much of the dance with upcoming DJs and that Many of the people who field with 50,000 other music world exists far fuels his own creativity. discovered dance music forms. The underground people listening to your outside the mainstream. will never die. favourite DJ has the power Outside of David Guetta, to be a very emotional Avicii and Calvin Harris, experience and I think that most people have never having had that experience heard of the biggest names people want to feel that in dance music despite the again. Going to EDC in Las fact that they earn more Vegas and seeing 140K than most movie stars. That people from all different said, brands have seen how ANDREW GOLDSTONE walks of life, united in their important dance music is CO-MANAGER, TIËSTO love of dance music is to Millennials, but most are pretty amazing. That kind still trying to figure out how of community doesn’t exist to activate in this space in in other scenes. A shared an authentic way that fits love of dance music is an with the culture. immediate bond between people even if they like different DJs.

76 77 the LOGISTICS

79 THE LOGISTICS

THE LOGISTICS FESTIVAL TICKETS Most people in both One in five UK attendees UK countries (over two in three) (18%) reportedly make the • 12% have bought from THE PLANNING plan their dance festival purchase on the actual day activity after line-ups have of the event (compared ticketing websites, but 58% would consider FESTIVALS/CLUBS been announced, usually to only 9% of the Spanish What was the best thing at least 2 months ahead of festival attendees). buying from this that you remember about channel in the future Though dance events Customers usually buy more the experience? the event itself, and about are seen as a social tickets in one transaction In terms of where they buy 15% actually book before • 64% of those who experience, with attendees early in the sales window, from, the vast majority (85% ‘The feeling they even know the line-up purchase through for both clubs and festivals and switch to buying single in the UK and 88% in Spain) of being away (more than 6 months in primary ticketing likely to go in groups, tickets around the time get their tickets directly from reality. advance). websites mentioned purchasing behaviour is of the event. The ‘switch’ from the festival web page, Ticketmaster slightly more solitary. The When you are However two in five leave with only one in ten on happens earlier for festival in this buzz, this majority of dance tickets on purchases, compared to the booking until last average buying from a • 2% bought from a Ticketmaster UK are sold club events. As we get atmosphere, minute, purchasing tickets ticketing website, and even ticketing marketplace, as singles or pairs – 42% closer to the day of the it is like the up to a week before the fewer (2% in the UK, 1% but 29% would of club orders were sold event, almost 60% of tickets world around festival. It is important to in Spain) from a ticketing consider buying from as pairs, and more than sold are single (rather us just stops note that these people are marketplace. However, this channel in half (52%) of dance festival than group). for the night’ usually the lower spenders. 20% of UK attendees and the future orders were single tickets. 12% of Spanish say they Festival attendee, Female, Ticketmaster’s transactional purchase from people SPAIN 20–24, UK, North West data for the UK supports selling tickets on the day • 8% bought from a GROUP SIZE – COMBINED this trend, with less affluent of the festival. groups over-represented ticketing website, but UK SPAIN SINGLE TICKET amongst late bookers Although actual 62% would consider MULTIPLE TICKETS (Claimant Culture, Ex- purchasing behaviours buying from this 80% Council Community, are less geared towards channel in the future 70% Terraced Melting Pot), ticketing websites (both • 33% of those who and affluent family groups primary and marketplace purchase through 60% over-index among early websites), significantly more primary ticketing bookers (Alpha Territory, people would consider ORDERS 50% websites mentioned New Homemakers, Liberal these channels for future Ticketmaster 40% Opinions), according purchases. to Experian’s Mosaic 30% • 1% bought from a classification. ticketing marketplace, 20% but 11% would 0-10 10-20 20-30 30-40 40-50 50-60 60-70 70-80 80-90 90-100 consider this channel SALES WINDOW (% breakdown from 'onsale' to ‘event date') in the future 80 81 THE LOGISTICS THE LOGISTICS 34% The types of tickets bought UK Gauging the reaction IBIZA CLUBBING vary from weekend passes, • 30–34’s are most likely to towards some value (82%), day tickets (81%) purchase day tickets, out added benefits that and camping (70%), and of all age groups could be introduced to Ibiza goers also pre-plan IBIZA INTEREST IN PRE-BOOKING over half (58% in the UK, enhance the experience, their clubbing activities to • 25–29 y/o are most likely some extent, with close DAY/BEACH 53% in Spain) went for free Wi-Fi was the most PARTY TICKETS VIP tickets as well. UK to purchase weekend popular in the UK (57%), to three in five (57%) of 34% 22% attendees are equally likely passes and camping and advanced booking Spanish attendees and SIGHTSEEING DAY TRIPS to have bought them at full tickets discounts the most fewer (31%) Brits who 27% 28% booked nightclub tickets NIGHTCLUB price or with an ‘early bird’ SPAIN appealing amongst the in advance. 27% TICKETS 24% offer, however in Spain the • 16-19 year olds are the Spanish festival goers tendency is to go for the (63%). Tickets and virtual BOAT most likely to purchase In terms of interest to PARTY TICKETS full price. wallets on wristbands 26% 26% camping tickets pre-book in the future, were favoured over (likelihood to purchase highest appeal is for CLUB having these available on EXTRAS decreases as age booking day/ beach parties 25% 12% smartphones in the UK increases) for UK attendees (34%) MERCHANDISE (42% vs. 37%), whereas and day trips (28%) or 16% 13% • 25-29 year olds are the the level of appeal was boat parties (26%) for most likely to purchase similar amongst Spanish Spanish attendees. weekend passes festival goers (just over Three in five Spanish Ibiza goers have pre-booked nightclub tickets, although one in four feel likely to do so in the future 40% found both options FESTIVALS – INTEREST IN VALUE ADDED BENEFITS appealing). In the UK, likelihood to book in advance and actual pre-booking behaviour are aligned. 31% have pre-booked nightclub tickets, and 27% feel likely to they do so in the future

UK 57% FREE WI-FI 55% TOP SPAIN

ADVANCE BOOKING 54% HIGHEST APPEAL: DISCOUNTS 63% FREE WI-FI LOYALTY/MEMBERSHIP 51% ADVANCE BOOKING DISCOUNTS TICKET DISCOUNTS 62% Especially amongst 16–19 y/o TICKETS AND VIRTUAL 42% and 40–44 y/o WALLET ON WRISTBAND 42%

41% VIP TICKET EXPERIENCE 51% TOP

40% HIGHEST APPEAL: BULK TICKET DISCOUNTS 55% ADVANCE BOOKING DISCOUNTS TICKETS AND VIRTUAL WALLET 37% Over 40s are the most interested in ON MOBILE (SMART) PHONE 45% free WI-FI at festivals

MEASURES TO LIMIT THE 37% RESELLING OF TICKETS E.G LIMITED TICKETS AVAILABLE PER PERSON 43% 82 83 THE LOGISTICS THE LOGISTICS

THE SPEND Close to half in the UK opt for standard tickets and for discounted tickets ON TICKETS usually buy some sort of a small minority (5%) book (equally likely to source discounted ticket, although a table (either through a them online or from this is primarily online table + ticket booking, or a street promoters), one FESTIVALS CLUB/VENUE GIGS IBIZA (28%) rather than from VIP ticket which includes a in four (26%) go for free NIGHTCLUB Most gig attendees in street promoters (16%); table booking as well). parties and one in ten More than half of festival the UK (75%) usually TICKETS a third (35%) go for the (10%) also have a table attendees in the UK are spend up to £30 on free options (either free In Spain however, close to included in their booking. reportedly spending £50+ About one in five of UK tickets, which is very much parties with wristbands or a third (28%) usually buy on tickets, with just over one Ibiza goers usually pay in line with Ticketmaster discounts, or whatever else standard tickets, slightly in ten (15%) who are going up to £30 on club tickets, transactional data showing they can get for free), 14% more (35%) are going over £150. whilst more Spanish that 50% of tickets sold attendees (33%) go for Transactional data shows were priced up to £20 and a similar price range (up WHAT KIND OF TICKETS DO THEY PURCHASE? that the majority (60%) of a further 32% between £20 to €30). dance festival tickets sold and £30. on Ticketmaster were in the 28% However over one in ten DISCOUNTED TICKETS - ONLINE Similarly, Spanish attendees UK 17% £51-£100 price bracket, (16%) Spanish attendees usually pay up to €30 on SPAIN and 20% in the £151-£200 and slightly fewer (9%) UK FREE ENTRY 24% tickets, with a minority of 17% bracket. attendees usually go for 13% going for the €50+ 16% free entry clubs. DISCOUNTED TICKETS - In Spain however, the spend. FROM STREET PROMOTERS 18% majority (38%) spend Willingness to spend 14% Willingness to pay more STANDARD TICKETS between €21–€50, closely peaks in the 31–50 28% is related to notoriety of followed by those paying (£ or ¤) price range FREE PARTIES WITH WRISTBAND 11% the DJ, with 49% in the UK AND DISCOUNTS 9% between €51–€100. Only across both markets, and a similar proportion in a very small minority (3%) with close to one in four TICKET & STANDARD 3% Spain who are willing to pay TABLE BOOKING 9% pay above €150. (23%) willing to spend between 20 and 50 (£ or €) 2% this much in the UK and VIP TABLE In both markets, for a celebrity DJ, and more EXPERIENCE 1% 27% amongst Spanish willingness to pay than half not willing to pay 2% attendees. OTHER is aligned with 1% any more than £20/€20 for actual spend. a less known DJ.

TOP TOP Majority of UK Ibiza attendees have Majority of Spanish Ibiza attendees have What was the best thing that you remember about purchased DISCOUNTED TICKETS purchased STANDARD TICKETS the experience? ONLINE, and close to one in four go 16-19 year olds are the most likely to for ‘FREE ENTRY’ offers ‘Crowds of friendly people’ have purchased DISCOUNTED TICKETS (ONLINE OR FROM STREET PROMOTERS) Ibiza goer, Male, 40–44, Northern Ireland

84 85

28%

18% 17% 17% 9% 9% 1% 28% 1% 18% 17% 17% 9% 9% 1% 1% THE LOGISTICS THE LOGISTICS

dance festivals DANCE GIGS IN CLUBS / OTHER VENUES

REPORTED SPEND ‘Heavy 49% 60% 14% TM TRANSACTIONAL attendees’ REPORTED SPEND REPORTED SPEND DATA 40% 25% 23% (i. e those TM TRANSACTIONAL 15% 14% WILLINGNESS who attended DATA TO SPEND 32% 23% 29% 5+ events in 27% 27% the last year) 17% UP TO 20 21-50 51-100 101-150 150+ are willing to 18% 15% 13% 13% spend more 10% on tickets 9% 38% 60% REPORTED SPEND 2% 60% than light/ WILLINGNESS NOTHING UP TO 20 21 - 30 31 - 50 50+ NOTHING UP TO 20 21 - 30 31 - 50 50+ 27% moderate 25% 23% TO SPEND attendees 15% 14% 17% 10% 150+3% ANCILLARY SPEND UP TO 20 21-50 51-100 101-150 150+ The spend of attending a A third of festival attendees dance event is very often What was the best thing do not pay anything on that you remember about higher than only the cost of accommodation, but from the experience? IBIZA CLUBBING the ticket. those who do, more than half are spending over £50. ‘I absolutely In the UK, festival goers tend to spend similar love how I can REPORTED SPEND Ticketmaster’s transactional ‘Heavy amounts on travel, food attendees’ 23% data for the UK also just let steam 21% WILLINGNESS and drinks – with the (i. e those who 18% TO SPEND suggests that going to off and there attended more 12% majority (about a third) a dance event at a club than 5 times in 9% 10% 8% paying between £21- are absolutely the last year) is a much more local are willing to £50 on either, and 38% experience than other no restrictions. spend more NOTHING UP to 30 31-50 51-100 101-150 150-300 300+ spending more than £50 events (or dance festivals), on tickets I feel free’ on drinks. Also, 35% spend with close to half (45%) of than light/ quite low (up to £20) to purchasers for club events, moderate REPORTED SPEND 33% attendees 27% travel to the festival, and living within 10 miles of WILLINGNESS even more people (64%) 23% 24% TO SPEND the destination venue (vs. 16% 19% 14% spend a similar amount to Festival attendee, Female, 15% 8% 31% for the average TM 5% travel to a gig in a club/ 16–19, UK, London 5% customer and 26% for 2% 2% other venue. festival customers). NOTHING UP to 30 31-50 51-100 101-150 150-300 300+

86 87 THE LOGISTICS THE LOGISTICS

Spending patterns on food Highest costs of a getaway What was the best thing and drinks at festivals are to Ibiza are flights and that you remember about dance festivals – similar amongst Spanish accommodation, with the experience? attendees, with the average 46% of Brits paying other spend spend being in the €21- between £100–£300 on ‘My first time in

€50 bracket. Spend on flights and 38% paying the early 90’s TRAVEL (£ AND €) travel, however, is slightly a similar amount for when clubbing UK festival higher, with 48% paying accommodation; however SPEND was more under- goers aged over €50, and a quarter close to one in five spend ground and not 34% 21-50 25% between 20 of attendees between over £300. Not surprisingly, SPEND and 29 are mainstream. My the biggest €21–€50. As in the UK, Spanish Ibiza goers spend 100+ those going to club/ venue less on both flights and first sunset at 14% 25% spenders on CLOTHES, CLOTHES (£ AND €) attendees are less likely to accommodations, but quite Cafe Mambo’ with one travel, with a quarter (25%) similar to the UK on day SPEND in seven not spending anything, and and boat parties. Ibiza goer, Male, 45–54, spending 51-100 the majority (36%) paying UK, South East 16% 11% OVER £100 up to €20 to get to their ACCOMMODATION (£ AND €) chosen gig. SPEND DAY AND BOAT PARTY SPEND 19% 100+ 18% UK SPEND SPAIN 29% NOTHING 24% 23%SPEND FOOD (£ AND €) SPEND SPEND 24% OVER ¤100 34% 21-50 34% OVER £100 DRINKS (£ AND €) SPEND 19% SPEND SPEND 31% 21-50 36% 22% SPEND £51-£100 ¤51-£100 38% 50+ 32%

88 89 THE LOGISTICS

DANCE EVENTS IN CLUBS / OTHER VENUES – OTHER SPEND

TRAVEL (£ AND €) SPEND 51% UP TO 20 36% SPEND 6% 50+ 11% CLOTHES (£ AND €) SPEND 11% 31-50 8% DRINKS (£ AND €) SPEND IBIZA CLUBBING – OTHER SPEND 10% 50+ 11% SPEND DAY & BOAT PARTIES (£ AND €) 27% 21-30 24% SPEND 26% 31-50 16% SPEND 7% 300+ 5% FLIGHTS (£ AND €) SPEND 46% 100-300 36% SPEND 16% 300+ 10% ACCOMMODATION (£ AND €) SPEND 22% 300+ 16% SPEND 38% 100-300 31%

90 91 INTERVIEW: TIGERLILY

than just music. Every Q: What is it about dance Q: If you could play a festival around the world music culture that is so show anywhere in the INTERVIEW: has very quickly recognised attractive to fans? world, where would it this and puts ample time be and why? TIGERLILY and money into organising Tigerlily: I think that props, visuals, lighting, dance music culture is Tigerlily: EDC in Las THE RISING AUSTRALIAN DJ TALKS PASSIONATE FANS, GIANT dancers and effects. This really infectious and it has Vegas and Ultra in UNICORNS, AND WHY LIVE IS MORE THAN JUST MUSIC is the same for my Kiss My the ability to bring people Miami. These two festivals Tigerlily show at Pacha together despite age, are absolute monsters Sydney! I wanted the fans ethnicity, gender, location, and playing on the Tigerlily is one of Q: Was there a particular never know what you’re to get a complete Tigerlily and time. Dance music has main stage would be Australia’s hottest live event that inspired going to get. The crowds experience and I feel traditionally been based mindblowing. I’d love new DJ exports. Hand you to take up the in Italy were absolutely that we have been able around peace, love, unity to put my own spin on picked as support for DJ lifestyle? outrageous and moshing to create a colourful and and respect and I still it similarly to the way I Tiësto’s tour of Asia, like crazy, American crowds magical experience that is think that to this day these do at Pacha. Dancers Tigerlily: Yes! It was she is now showcasing are really open minded like nothing else at any club qualities are emulated dressed up as mermaids, Creamfields 2010 in Sydney her own unique stage to new music and sounds, in Australia. through both dance music three metre high unicorns presence at Australia. I remember Aussies love to party HARD, and at many dance parties on the stage, rainbow Pacha Sydney watching deadmau5 play and Malaysian crowds all over the world. lighting, bubbles, a closing set on the main are known for singing all confetti… stage and it absolutely the words even though blew me away. That was a English may not be their turning point in my life that first language. It’s pretty really confirmed for me that amazing seeing how I wanted to be involved in dance music can transcend dance music. cultural boundaries.

Q: You’ve had a fairly Q: Your ‘Kiss My Tigerlily’ TIGERLILY hectic touring schedule DJ/ARTIST show in conjunction with of late. Have you noticed Pacha was in the works any major differences for a year, how important between fans and is it that fans get more audiences in different than just music from a countries? live DJ performance?

Tigerlily: The audiences Tigerlily: I think at this in each city are always point in time, especially in different and I absolutely regards to dance music, love that. When you go to fans are looking for an a city for the first time you experience which is more 92 93 Code of CONDUCT

95 CODE OF CONDUCT

What was the best thing that you CODE OF CONDUCT remember about the experience? ‘Friendly, relaxed nature of people and great club As noted earlier (see as an integral part of the • 49% of Ibiza goers the Motivations and experience. However, the from the UK and experiences’ Preferences chapter), the research also shows that slightly fewer (39%) Ibiza goer, Male, 25–29, London atmosphere is a strong overall drug habits do of Spanish attendees driver for attending dance not differ at dance events have rarely seen ALCOHOL CONSUMPTION events of any type. compared to general drug violence or crime not ALCOHOLIC DRINKS CONSUMED ON uptake outside the events. dealt with Although it only applies for A NIGHT OUT AT A DANCE EVENT Males are heavier drinkers a minority, ‘getting in an And although people are • 48% of UK festival than females altered state’ is also part of generally aware of drug goers and 44% of that and is a pull for about presence at dance events dance gig attendees Under 24 year olds are UK 42% the heaviest drinkers one in ten people. and have a certain amount believe there is plenty of tolerance/ acceptance to of security staff on-site SPAIN Having said that, the it, the majority (about 40% 37% majority of UK attendees in the UK and 50% in Spain) • About one in three consume between 2 – 5 find drug taking off-putting. Spanish attendees, drinks at a dance event, and more UK with the under 24 year olds People feel generally attendees (especially 28% being the heaviest drinkers. positive about measures festival goers) report 27% However, 40% of UK taken for their safety, that on-site drug attendees and fewer (18%) although gig/ club checking is common of Spanish have more than attendees are slightly less at dance events 5 drinks. likely to be positive than festival and Ibiza goers. Just over a third (34%) of About 40% in both markets, UK attendees and fewer, 14% and across all types of 13% about one in five (22%) dance event attendees, 12% 12% of Spanish, take drugs at feel strongly that organisers 9% dance events – more likely / club owners are putting to be occasional rather effort into making them feel 6% than frequent use. A very safe overall. small minority (about 5% in both markets) see drugs NONE/PREFER UP TO 2 2 - 5 6 - 9 10+ NOT TO SAY DRINKS DRINKS DRINKS DRINKS

96 97 BRANDS & SPONSORSHIP

99 BRANDS & SPONSORSHIP BRANDS GENERAL ATTITUDES % AGREE & SPONSORSHIP I AM MORE LIKELY TO BUY FROM BRANDS 40% SPONSORING MY FAVOURITE EVENT 39%

48% I APPRECIATE SPONSORING BRANDS Dance event attendees in More than half also believe • Giveaways/ freebies 62% both markets (57% in UK, sponsors should provide (40%), followed by SPONSORS SHOULD PROVIDE A SERVICE 57% 63% in Spain) acknowledge a service adding value to extra stages/ venues ADDING VALUE TO OVERALL EXPERIENCE 62% the fact that sponsors have the overall experience, with (36%) and event– I AM HAPPY FOR EVENTS TO HAVE SPONSORS 68% a key role in making dance priorities being: related technology IF IT KEEPS THE TICKET PRICES DOWN 66% events financially possible, (35%) – in Spain UK with even more people • Giveaways/ freebies SPONSORS HAVE A KEY ROLE IN MAKING 57% Attendees in the UK feel DANCE EVENTS FINANCIALLY POSSIBLE 63% SPAIN (68% in UK, 66% in Spain) (42%), followed by that alcohol brands are feeling happy for events to technology to make most suitable to sponsor be sponsored if this keeps the event run smoothly dance events (46%), ticket prices down. (39%) and exclusive live music content (36%) – whilst in Spain electronic WHICH FITS BEST? – TOP 5 INDUSTRY SECTORS CONSIDERED STRONGEST in the UK hardware brands (41%) FIT TO SPONSOR DANCE EVENTS are seen as best fit. BASED ON AN AVERAGE SUITABILITY SCORE (OUT OF 10) – AS VOTED BY DANCE ATTENDEES

7. 81 7. 22 7. 33 7. 23 7. 21 7.66 7.1 2 7.1 7 6.39 7.07

ELECTRONIC TOURISM ALCOHOL CLOTHING TELECOMS HARDWARE /TRAVEL

30-35 year olds are most likely to feel Alcohol is a suitable sponsor. UK males more likely to favour automotive sponsors

100 101 BRANDS & SPONSORSHIP CHAPTER HEADING GOES HERE

ENHANCING THE EXPERIENCE

UK SPAIN GIVEAWAYS/FREEBIES 42% 40%

TECHNOLOGY THAT MAKES THE EVENT RUN 39% MORE SMOOTHLY (APPS, MOBILE CHARGING, ETC) 35% % AGREE EXCLUSIVE LIVE 36% MUSIC CONTENT 32%

DELIVERING VIP EXPERIENCES 36% (VIEWING AREAS, LOUNGES) 34%

35% EXTRA STAGES/VENUES 36%

PERKS FOR LOYAL CUSTOMERS (I.E THOSE WITH 34% A PARTICULAR BANK, MOBILE OPERATOR) 27%

GETTING YOU CLOSER 34% TO THE ARTISTS 33%

ADDITIONAL NON MUSIC EXPERIENCES 32% THAT YOU CAN SHARE WITH FRIENDS 26%

WAYS TO SHARE YOUR EVENT EXPERIENCE 31% ON SOCIAL MEDIA (FROM THE VENUE) 26%

What was the best thing that you remember about the experience? ‘Meeting new friends and everyone having a blast’ Ibiza goer, Female, 20–24, Scotland

102 103 INTERVIEW: NERVO

Since we perform in front DJs leverage their own NERVO: A track you love INTERVIEW: of thousands of people personal brand? playing on a great sound each week, we are also in system, your friends close NERVO a great spot to see what NERVO: Every brand we by sharing the experience trends are popping up all collaborate with is an and no work the following THE DJ DUO DISCUSS THEIR CLUBLAND ROOTS AND THE over the world. Any brand extension of what we do day so you can enjoy for and where we are today. EVOLVING ROLE OF BRANDS IN DANCE aligning with dance artists as long as you like! or festivals should share the Each brand has helped same ethos, the same spirit us to reach more people Q: How do you see the with our music, so for us genre evolving? Sisters Mim and Liv Q: What inspired you to Q: With dance music and be true to dance music it’s a win/win. The fashion (Nervo) when not move from song writing festivals cropping up culture – which is to let collaborations in particular NERVO: Dance music penning chart hits, or behind-the-scenes each year, is there still go, enjoy, be who you are, have been a lot of fun will be forever growing, commanding a unique into the dance music room for growth in the embrace the music as they have helped us forever evolving. It’s an presence at live events spotlight? localised club scene? and the good vibes explore further into our own open playing field with across the globe, around the music. so many different genres NERVO: We just loved NERVO: We hope so! personal fashion tastes. are also ambassadors and the tools to make house music and went We love playing clubs. Q: You’ve partnered for some of the Q: What are the three key music more and more to Ibiza to party as fans. We started our careers with CoverGirl, TAG world’s most ingredients that make accessible. We think it’s a Then when we were living playing in clubs. There is an Heuer, Ballentine's and recognised brands the perfect dance music great time for music! in London we went to The intimacy playing in clubs Franklin & Marshall. experience? Cross and partied there on that is hard to achieve at How important is it that weekends. When we started a festival. It’s a great place working with DJs we got for an upcoming DJ to inspired by their sounds practice his or her skills. and that really helped when we started to produce Q: Brands are ourselves. Luckily after increasingly playing a ‘When Love Takes Over’ for pivotal role in dance David Guetta went number music culture. What is NERVO one it looked like dance the key attraction in DJ/ARTIST music was going to cross this genre? over more to the pop world. NERVO: Brands are drawn At that stage we were to dance music because it already DJing ourselves and has become very popular, started releasing records as so they have a greater NERVO and haven’t looked potential to reach more back since. people – especially the younger fans.

104 105 documentaries and BRAND SPONSORSHIP white label video, elevating the concept of a club event CASE STUDIES whilst simultaneously breaking down the Dance music now commands the attention of a host of big name brands, barriers between artist each actively seeking to engage with passionate audiences the world and fan. over. Here we outline some of the recent stand out collaborations.

RAY-BAN X BOILER ROOM

Now well into its third 3 million live broadcast and editorial platform, year, the partnership streams, the platform expertly curated by the between the iconic eyewear has evolved dramatically world’s most visionary company and Boiler Room, since its initial inception. artists. The integrated the leading streaming Bringing Ray-Ban’s ‘Never platform harnesses the platform for underground Hide‘ mantra to the fore, desire amongst the dance live music, is a truly global the campaign, which community for not just accomplishment. With started life as a series of credible live experiences, SAMSUNG/VODAFONE CREAMFIELDS intimate gigs spanning 10 intimate RSVP-only live but also rich, multi- cities, from LA to Milan, shows has developed format content, from Vodafone and Samsung decker bus on-site could teamed up with dance under its belt and over into a fully fledged event exclusive mixes to mini- partnered up with the UK’s recharge their depleted industry stalwart Fatboy most sought after dance devices, embrace the music Slim’s Smile High Club festival of the summer in during a silent disco, relax and 2,000 devoted dance order to promote the new in a chill out area and take music fans in a momentous line of Samsung Galaxy the now ubiquitous festival and spontaneous photo S6 and S6 Edge handsets. selfie courtesy of a quirky opportunity, creating the Fans that located the trampoline photo booth. To UK’s largest human Samsung Galaxy S6 double top it all off, the two brands smiley face.

106 107 BRANDS & SPONSORSHIP BRANDS & SPONSORSHIP

RED BULL REVOLUTIONS IN SOUND BUD LIGHT HOUSE OF WHATEVER/ FESTIVAL CANS

The beer brand had a fans, featured larger-than- Mad Decent Block Party, dedicated footprint on site life visuals and a mix of celebrating the music, at the EDM behemoth that interactive activities. On culture and artistry of is Electric Daisy Carnival site immersive experiences the event with 200,000 in 2015, with a view to included a life-sized uniquely designed and tapping into the passionate ‘lite brite’ digital graffiti customisable Bud Light Millennial audiences that wall, where guests could Festival Cans. The limited flock to an event that has express their own creativity, edition artist-designed become a dance music rite and the ability to receive cans were made of passage. glow-in-the-dark tattoos available exclusively and LED flower wand in each of the touring The ‘Bud Light House giveaways. festival’s key markets. of Whatever’ activation, part of a wider marketing The brand also engaged initiative to serve up in an innovative spontaneous moments for partnership with Diplo’s

‘Year after year, the season’s hottest artists attract festival goers to the biggest venues and concerts across the country, and we are always looking for ways to elevate our fans’ experiences at their favorite events. The four Mad Decent custom labels and 27 artist- designed labels were inspired by the spontaneous and unexpected experiences that music lovers enjoy all summer long. These bright, graphic Bud Light Festival Cans are like nothing you’ve ever seen from Bud Light – or any brand in the U.S. – and no two cans are alike’ Red Bull has been at the most authentic live music More recently, Red forefront of underground experiences, carving out Bull staged ‘R1ng 2 Alexander Lambrecht, Vice President, Bud Light dance culture for over a credible and respected, Rav3’ tapping into the 17 years, kick starting its niche at the epicentre 90s underground rave much-revered Red Bull of dance culture. Stand renaissance, whereby Music Academy program out RMBA collaborations guests were drip fed info way back in 1998, with a include Revolutions in about the event and singular vision to unearth Sound, bringing together talent line up via RBMA and mentor new creative 30 of the most legendary radio and a dedicated music talent. UK club nights of past and phone line over the present for one landmark course of the week, Since its inception the event, effectively turning the culminating in a major brand has consistently iconic London Eye into a live music experience. delivered some of the revolving nightclub. 108 109 BRANDS & SPONSORSHIP

SMIRNOFF SMIRNOFF HOUSE

‘Smirnoff is a brand that is open to everybody and has been supporting dance events for years. A partnership with Live Nation was a brilliant fit allowing us to provide amazing tasting drinks and bring DJs closer to the crowds at festivals across Europe’

Jamie Young, Brand Manager, Smirnoff

The vodka brand’s all- Smirnoff House was held in DJs, including Steve Aoki, American house party a familiar lounge, bedroom Ben Pearce and Kolsch, concept touched down and kitchen style setting, played intimate and at two of Europe’s most complete with kitsch décor, inclusive sets to a packed revered dance events over offering up the ultimate crowd of passionate fans. the summer, Sonne Mond house party experience. Furthering the inclusive Sterne in Germany and feel of Smirnoff’s on site Creamfields in the UK, as The Mixmag LAB, a activation, those not part of a major festival collaboration with the present at the festival partnership in conjunction essential dance music could also tune in via with Live Nation. Designed publication, acted as the a Mixmag live stream, to bring artists and fans focal point of the House, putting them at the into greater proximity, the where a host of big name beating heart of the action. 110 111 CONCLUSION

113 CONCLUSION

THE EXPERIENCE ‘UNDERGROUND WILL promote themselves and share content. Indeed, ‘Although a lot has changed NEVER DIE’ (6) CONCLUSION the research shows that since 20 years ago, the Furthermore, with dance one in ten attendees of core values in electronic music ‘continuously In a nutshell, the Consumers worldwide ‘mainstream’ UK festivals UK dance events also music are still pretty much re-inventing itself’ (7) and research shows that are acknowledging that (like Wireless or V Festival) produce electronic music. the same […] In 2015, new sounds emerging, club dance music is becoming are gradually ‘shifting’ Even more of them are dance music events, the product is so much nights are also evolving increasingly popular towards purchasing tickets contributing to dance in all shapes and better.’(2) to cater for the diverse and widely accessible, for dance festivals (there blogs, and for the vast sizes, appeal to a though its increased has been a 29% increase music tastes. Even if the draw of celebrity majority, social media is wide and diverse commercialization is far in the number of these DJs is undeniable and ‘There are venues that have essential not only to share from making it customers between 2012 audience that widely recognized by both found their niche in the their experiences at live less appealing. and 2014). transcends cultural fans and the industry, the market with underground events, but also to share content and find out boundaries. Dance is seen to be On the other hand, actual productions in this nights’ (8) about events they might influencing popular culture the industry is also ‘age of experience’ (3) We also see that what ‘Many of the people who be interested in. – something which is acknowledging that, over are now just as important. brings people together is discovered dance music viewed quite positively by the years, ‘the audience not only the music itself, but ‘The combination of the because of Swedish House Established DJs attendees themselves; they has driven the business’, (1) the euphoria, escapism and music and the production Mafia in 2011 have moved themselves are also recognize that quality and is responding to this. freedom most associated are two massively important on to more underground recognising the potential of dance gigs is improving, Event promoters, venue to experiencing it live. ingredients that create the sounds, while the audience of mentoring and both from a line-up and owners, ticketing providers, Whether this happens in a experience.’ (4) for the more commercial supporting emerging a production perspective. corporate sponsors and local club or in Ibiza, or at a styles only continues to grow talent, whilst rising DJs like This is also reflected in DJs/ producers, are all Dance festivals offer multi-day festival, there is a as more young people come Australian Tigerlily recall Ticketmaster’s transactional coming together to meet impressive visual effects, strong cross-over between into the scene.’ (9) how a festival experience event types and venues. data, showing that the demands of this tech- but clubs and venues inspired them to embrace previous attendees of more savvy, diverse audience. are equally focusing on EMERGING TALENT a career in dance music: engaging their audiences AND A ‘VARIETY with LED screen walls, laser OF SOUNDS’ ‘It was Creamfields 2010 shows and other elements in Sydney Australia. I carefully crafted to Something else that defines remember watching ‘enhance the production.’ the dance music culture is deadmau5 play a closing (5) ‘a generation of technology’ set on the main stage (10) – non-professionals and it absolutely blew me are inspired by events away. That was a turning they attend and now have point in my life that really access to tools, which allow confirmed for me that I them not only to produce wanted to be involved in dance music, but to dance music.’ (11)

114 115 CONCLUSION

SPONSORSHIP Engaging activations are therefore very important, But these impressive leading to creative and productions also require inspiring use of sponsorship an equally impressive and adding further financial commitment, value by creating unique and attendees themselves connections between are aware of this as well dance music and its fans (more than half agree that (Ray-Ban x Boiler Room, ‘sponsors have a key role Smirnoff), enhancing in making dance events festival experiences and financially possible). To content sharing (Samsung/ this end, favourability Vodafone, Bud Light) or of sponsorship actually mentoring emerging talent increases if this helps keep (Red Bull Music Academy). tickets prices down. WHO WINS IN THIS With its ability to gather BUSINESS? so many people and such diverse audiences, So, just as dance music corporate brands are also itself is constantly re- keen to be associated inventing itself, the industry with dance. that is responsible for promoting the genre also ‘I see brands playing a big needs to keep up in order part in the evolution of the to meet the increasing business. Dance music and demands of an even more QUOTE REFERENCES its mass market appeal is increasing audience. This 1. James Barton a huge draw for brands is what brings together DJs 2. James Barton wanting to get in front of this and their agents, event 3. James Barton diverse, tech savvy, global promoters, venue owners, 4. James Sutcliffe audience.’ (12) ticketing providers and 5. James Sutcliffe On the other hand, corporate sponsors: a 6. Andrew Goldstone sponsors and consumers shared goal to enable the 7. James Barton alike have understood creation and sharing of 8. Enrique Fernandez Pigem that whilst a financial unforgettable experiences, 9. Andrew Goldstone contribution is necessary, which will continue to 10. James Barton it takes more than that to drive the industry to the 11. Tigerlily 12. James Sutcliffe engage such audiences. next level.

116 117 METHODOLOGY

119 METHODOLOGY

METHODOLOGY TRANSACTIONAL 2. OTHER TOP DATA INSIGHTS TOP 4 SELLING Transactional data based We also partnered with DANCE FESTIVALS on Ticketmaster’s Live FRUKT, thought leadership CREAMFIELDS Insight data warehouse, specialists in the music and 1. RESEARCH ELECTRIC DAISY CARNIVAL which incorporates entertainment industry, PARKLIFE A couple of sources were This initial stage of the Following a thorough events from Ticketmaster to provide us with a wider SOUTH WEST FOUR used interchangeably to research allowed us to cleansing and and TicketWeb. context of the industry as provide a holistic picture identify the proportion of weighting* process, a a whole. TOP 6 SELLING • Festival data is from of consumers, as well as the general population who total of 4934 responses MAINSTREAM the top 4 selling dance the wider trends within the attended dance events in in the UK and 2932 Interviews with industry FESTIVALS the last three years (16% in in Spain qualified as festivals and top 6 selling experts (event promoters, dance events industry. WIRELESS FESTIVAL the UK and 33% in Spain), complete responses. mainstream festivals dance venue owners, DJs V FESTIVAL PRIMARY RESEARCH as well as the demographic Out of these, 1017 in since 2013 and agents etc.) allowed LOVEBOX FESTIVAL profile of dance attendees. the UK and 998 in Spain us to get this deeper Stage 1 – Nationally • Dance event data is T IN THE PARK passed our screener understanding of the representative sampling from 2,110 dance events READING FESTIVAL Stage 2 – (having attended at dance industry trends. (used to identify the The ‘boost’ stage taking place between LEEDS FESTIVAL demographic profile of least one dance event 2013 and 2015 dance attendees) Based on the in the past three years) demographics profile and were defined as Ticketmaster partnered of dance attendees (as dance event attendees with Research Now to identified in the nationally therefore informing the get a representative representative sampling), majority of the report. sample of the UK and we targeted additional Spanish populations respondents accordingly, (1000 respondents in each until we reached a robust market), through an online enough sample of about survey (designed, set-up 1,000 people (in each and analysed in-house), market) who went to *Nationally representative quotas which was fielded between dance events in the last were set on age, gender and July 21st and August 8th regional breakdown. Weighting three years. was required on respondents’ 2015 in the UK and August age for the data in Spain, to 10th and September 7th ensure that the demographic characteristics of dance in Spain. attendees overall matched the profile identified in the representative sample.

Ticketmaster is an MRS Company Partner. All MRS Company Partners and their employees agree to adhere to the MRS Code of Conduct and MRS Company Partner Quality Commitment whilst undertaking research.

120 121 ABOUT US

ABOUT ABOUT US We’ve been ticketing for destination for tickets selling on every day, and those who thousands of clubs and behalf of hundreds of events wish to pop in, we serve festivals across the world across www.ticketmaster.co.uk them through 4000+ outlets. ABOUT since 1975, so you could say and www.TicketWeb.co.uk in Our 400+ customer service we’re experts in the field and the UK and www.ticketmaster. professionals in 12+ call in packing out dance floors. es in Spain. centres have already spoken We have more audience to 1.6 million fans this year. Truly international – LiveAnalytics, a division of In the UK, LiveAnalytics State of Play: Dance Music data, distribution channels dedicatedly local. Ticketmaster We are constantly investing Ticketmaster International, is leverages data from events is the fourth in a and marketing reach than International operates in in technology innovation a provider of consumer insight Ticketmaster’s massive series of reports published anyone else. With access to 21 different countries with and are committed to and business intelligence on database of 14m plus fans. under the LiveAnalytics over 2 million dance music local eCommerce sites, delivering world-class events, entertainment and Overlaid with in-house and banner by the Insight team fans, wherever your event is servicing over 230+ million products and services ticketing. licensed demographic data, at Ticketmaster International, happening, we make the world customers per year. We have across the entertainment- LiveAnalytics offers information as part of our drive to small enough to find the fans We deliver sophisticated data 30 international offices with ticketing sector. We provide on fan preferences, and better understand the live who’ll be dancing until dawn. products and services that help 1,500 local experts that a safe, secure and stable ticketing trends to give artists, entertainment sector and its to improve customer retention, We are the world leaders in engage with one million fans environment for fans to venues and teams unrivalled audiences. The first ‘State of maximise ticket sales, ticketing, and the number one across social media platforms purchase tickets. insight into how, where and play’ report was published in increase upsells. to whom they can sell tickets 2012 on festivals, followed by For more information Jackie Antas, PR Director These range from dedicated – and, afterwards, measure theatre in 2013 and Comedy please contact: [email protected] research resource to access the effectiveness of marketing in 2014. to our International customer campaigns while events are visit www.livenationentertainment.com. For more information database, Live Insight (with still on sale, to optimize results about our services, please +44 207 980 4361 more than 60 million and ROI. contact: 4 Pentonville Road, London, N1 9HF, United Kingdom individual customer records [email protected] across 12 markets), with which we produce unique ABOUT customer insight.

Live Nation Entertainment For additional information, visit (NYSE: LYV) is the world’s www.livenationentertainment.com No part of this report may be stored or reproduced (either electronically or mechanically or otherwise) without the express prior leading live entertainment permission of Ticketmaster. company comprised of Ticketmaster is an MRS Company Partner and our Live Analytics division adheres to the MRS Code of Conduct and MRS Company global market leaders: Partner Quality Commitment whilst undertaking research. Ticketmaster, Live Nation This report relies on data, conclusions and recommendations from primary and secondary sources (including third parties) that Concerts, Live Nation Media & were gathered in good faith. Although believed to be accurate, this information is not guaranteed and, as such, Ticketmaster can accept no liability for action taken based on any information in this report. Sponsorship and Artist Nation Management. 122 123 ABOUT US

ABOUT

FRUKT is a global marketing Entertainment has the power From smart brand strategy agency with offices in London, to heighten emotions, bring and innovative creative LA, New York, Rio, Milan and people together, and convey thinking to considered Sydney. Our role is simple. We stories that resonate across talent procurement and help brands entertain people the globe. FRUKT believes rock solid activation and make them happy. that every brand has the delivery, FRUKT can help ability to harness a distinctive your brand become the We’ve worked alongside and valuable role within catalyst for unforgettable some of the world’s boldest entertainment. We help entertainment moments, brands – including Coca- define that role, developing spreading a little more Cola, MasterCard, Sprint, O2, integrated marketing solutions happiness along the way. McDonald’s, Bank of America, with credibility, longevity and Jagermeister and Budweiser commercial return at their – to leverage the universal heart. passion that surrounds entertainment, creating award winning platforms, campaigns and experiences across 150 countries.

For more information please contact:

[email protected] @FRUKT www.wearefrukt.com +44 (0)20 7751 2900

Images supplied courtesy of: Amnesia, Cream, Fabric, Lock N Load Events, MAMA & Company, Ministry of Sound, Pacha Group, SJM Concerts, Ushuaïa

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