September 19, 2024 • 14 mins
What's causing so many music festivals to pull the plug on the amplifier? Pambula indie star Kim Churchill and Cobargo Folk Festival director Zena Armstrong give their take on why live music events are struggling.
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Speaker 1 (00:01):
Fast South Coast.
Speaker 2 (00:03):
Today, I'm James Fantasy and in this episode we ask
the big question. A lot of live music lovers are
wondering what's causing so many music festivals to pull the plug, rain, hail,
mud pits, whatever the show would usually go on. In
my day, it was festivals like Falls, Big Day Out
or Pyramid Rock. It was almost like a rite of
(00:26):
passage as you moshed next to complete strangers, all drawn
together by the love of live music. Even our PM
Anthony Albanezi, saw Nirvana play at the very first Big
Day Out back in nineteen ninety two. Festivals are just
something most of us love, but in recent years the
festival scene has been under pressure. One of the biggest
(00:46):
shocks came when blues Fest, one of Australia's most iconic
festivals at Byron Bay, announced its final event will take
place next year. Now, this is a festival that's attracted
big names like Bob Dylan and Kendrick Lamar. Crowd of
up to one hundred thousand have flocked to blues Fest
in previous years, with that number down to around sixty
five in twenty twenty four, and one of the acts
(01:09):
booked for the final lineup be in twenty twenty five.
Alongside Crowded House and vance Joy will be one of
our homegrown musos from Pambula. Kim Churchill played his first
blues Fest in two thousand and nine after winning the
Events Busking competition, and since then he's toured the world
and played some of the biggest music festivals like Glastonbury.
(01:31):
Kim says he's honored to be part of the final
blues Fest lineup.
Speaker 3 (01:34):
Yeah, it's an incredible honor to be playing the last
blues Fest. It's been such a huge part of my life.
I won the Busking com back in two thousand and
nine and it's just been such a beautiful and huge
part of my life ever since. So it's a real
honor to be up there with so many my heroes,
so many absolute legends, and like such a historical festival
(01:57):
for Australian music, really really beyond shuffed.
Speaker 2 (02:02):
Blues Fest has had its ups and downs. COVID of
course shut it down in twenty twenty and twenty one,
and last year there was controversy around the billing of
Sydney band Sticky Fingers, which led to artists withdrawals, and
even this year there was a lot of negative reviews
as weather transformed most car parks into muddy quagmires. Despite
(02:22):
these challenges, Kim Churchill says the loss of blues Fest
will leave a big hole in the Aussie music scene.
Speaker 3 (02:28):
I think in general, it is it's a really scary
time to be a big festival. It's a really scary
time to be a big festival. It's a really scary
time to be a small venue. And that is because
there just isn't doesn't seem to be the interest and
the support in going to live music events in small
venues and big festivals. And this is really sad because
they're so fun. There's such a beautiful part of culture,
(02:50):
and I think if they all disappear, everybody is going
to be a lot less happy, and a lot less
joy and contentment will be in all of our lives. So,
you know, I really hope that everybody comes. There's a petition.
The local MP has started a petition up there. Please
sign the petition and if enough people start going festivals again,
then they'll thrive and it'll be a beautiful part of
(03:11):
our culture once again.
Speaker 2 (03:13):
You can find out more on Bluesfest twenty twenty five
and also add your name to that petition to keep
it going at bluesfest dot com dot au. Loads of
music festivals across Australia are feeling like they're on their knees.
Big events like Groove and the Move, Splendor in the
Grass and Spilt Milk all announced they wouldn't be happening
(03:36):
this year, or the Sunny Coasts Caloundra Music Festival has
been called off too closer to home, our very own
Wanderer Festival, which only began in twenty twenty two, made
the switch to a biennial format, only running every two years.
Organizer Simon Daly says this allows them more time to plan,
especially when it comes to booking quality international artists.
Speaker 4 (03:58):
I feel like, you know, what is the date?
Speaker 3 (04:01):
What?
Speaker 4 (04:01):
We all just run a festival every year and everyone
does because that's just a calendar year. But why, you know,
like why do you do that? And I think that
for where we are, being so remote and so regional,
that running something every year I felt was probably and
we're you know, both festivals were just so strong and
(04:22):
so well and landed so well. I think most festivals
seem to go backwards thirty percent if you look sort
of through you know, pretty much all of them, even
the big Red Bash, which is you had so much
media and so successful, but that went back thirty percent.
But Wanderer actually slightly grew last year, so we're really
well positioned. But I still felt that within three or
(04:43):
four years or even two years, that people would start
to those years just come around so quick and with
the cost of living, I felt that if we move
it to every second year, but if you love your
Wanderer and you love love a festival, then to miss
one that would mean you wouldn't see it for four years,
and that's a long time. So I feel like that's
a much more sustainable model and keeps it really fresh
(05:06):
and exciting.
Speaker 2 (05:06):
A bit of a case of less is more, Yeah, definitely.
Held near Bioa National Park and beautiful Pambula Beach, the
Wanderer Festival is known for its multi generational vibe, offering
something for everyone. Simon Daily, who you just heard from,
there is the man behind Wanderer and he knows his stuff.
The now Pambula local founded Falls Festival back in nineteen
(05:27):
ninety three and ran the Lost Lands Festival between twenty
sixteen and twenty nineteen. He has a few theories on
why festivals, especially the bigger events, are struggling.
Speaker 4 (05:37):
Over history, there definitely has been some really big festivals
that have come and gone Livid and Home Bake and Stereosonic,
the Big Day Out. I mean, it's not something unusual.
What is unusual is just how many in such a
quick succession there's been, I guess, and that I think
has been heightened by the pandemic and the post recovery
(06:00):
and then the cost of living pressures. And I think
probably unusually that cost of living pressures has passed down
to a younger generation as well, which maybe have been
less affected in the past.
Speaker 2 (06:09):
Yeah, obviously cost of living is affecting everyone, and you've
touched on a number of the main reasons you think
it's happening there. But you've been in the industry a
long time as well. How much have things changed in
terms of, you know, what's expected of a big festival
from back when you started to now.
Speaker 4 (06:26):
I think there's a gravitation now towards more of an
organic festival and more of a community built festival in
a sense, one where people feel real ownership and love
of it. And then you know in hand the festivals
themselves are also giving back to their audience and treating
(06:47):
them like they are part of the organization. And I
think that kind of festival is the way of the
future in the short term, just in the rebuild of
the festival industry. Ones that come in and rely on
just securing the biggest name act and if the biggest
name act's not there, then you know that event won't
go ahead. That's that's where it's lacking, community of just
(07:10):
we just want this festival no matter what. So I
guess what we'll probably see is more medium size and
smaller events start to kind of become stronger, and then
out of that they'll they'll be growth again. But that's
how I think it'll play out.
Speaker 2 (07:30):
So what does it take to strike the right chord
in sustaining a successful music festival. Up next, we hear
it from the director of one of those smaller festivals,
the Cabargo Folk Festival, Xena Armstrong.
Speaker 4 (07:42):
I are Fast South Coast, I are Fast out Coast.
Speaker 2 (07:49):
Get a James Fantasy with you. Well, it feels as
though there's been a wave of music festivals either being
postponed or canceled. There are still a few bucking that
trend and it may have something to do with promoters
just knowing how critical a lineup is to capturing the
ticket buyer. The Day on the Green series of concerts
is a classic example of that and it continues to
(08:10):
attract big name artists or nostalgia tours. Sometimes the events
getting pulled is beyond anyone's control, like last year's Red
Hot Summer Tour in Bateman's Bay, which had to be
canceled when headline act Jimmy Barnes pulled out after heart surgery.
But as the village people once saying, you can't stop
the music. And this week the new South Wales government
(08:30):
announced a three million dollar emergency fund and new regulations
to help festivals survive. The changes include measures to help
improve safety and reduce overheads, especially the cost of insurance
required to meet complicated regulations. John Graham is the New
South Wales Minister for Music and the Nighttime Economy YEP,
that's two of his portfolios. He says this government support
(08:53):
is crucial.
Speaker 1 (08:54):
We know if we lose them we may not get
them back. That's the unfortunate reality for some of the
festival's last so renouncing a two year package of up
to five hundred thousand dollars assistance for these festivals to
help with costs as we get this regulatory system up
and running to get them through this next two year period.
If we can do that, where confident is a bright
(09:16):
period ahead for music festivals in New South Wales. I've
had a fantastic past. We hope they'll have a fantastic future.
Speaker 2 (09:23):
But that funding doesn't do much for smaller or even
medium sized festivals like Wanderer, and not all music festivals
benefit from government grants. The Cabago Folk Festival is run
by a dedicated team of volunteers and has been going
strong for twenty eight years, largely without any government support.
Sena Armstrong, the festival's director, has been vocal about how smaller,
(09:47):
volunteer run festivals contribute to local communities and provide a
platform for local and emerging musicians.
Speaker 5 (09:53):
We have a youth stage, the Crossing Youth Stage, and
Kim Churchill appeared on our youth stage and we quite
a bit younger, as did Daniel Champagne and Christi Dawd,
Rory Phillips. Quite a number of young people who are
now going on to have careers in Nashville, for example,
like Daniel has appeared on our U stage. It's one
(10:15):
of the most important ways that the festival has contributed
to artistic development in the Shia and it's fantastic to
see these people who started as quite young musicians go
on to do some amazing things.
Speaker 2 (10:29):
Xena has made three submissions to various government inquiries, one
to the Federal Government's National Cultural Policy, one to New
South Wales Cultural Policy and another to the Federal Live
Music Inquiry. She's hoping this will lead to better recognition
and support for regional festivals well, hoping that.
Speaker 5 (10:47):
There will be a deeper understanding of what rural and
regional events and festivals what we actually provide in terms
of supporting are really rich cultural environment in rural and
regional areas and the value so much of what we
do is based on helping artists tell their stories, and
(11:11):
we argue that rural and regional stories are just as
important as stories that might be being produced by artists
in the cities. And in fact there's real richness and
depth and a lot of untold stories in rural and
regional Australia that deserve to be heard, not just here
in Australia, but internationally as well. I'm always struck by
(11:36):
the richness of story where I live, in particular around Cabago,
right up and down the South Coast, and when you
actually venture outside the cities, there is so much depth
and there's so much beauty to be heard and that
deserves to be expressed, and it all adds to the
(11:59):
picture of ourselves Australians. I really feel that we need
to hear Australian stories. We need to learn more about ourselves,
and we're kind of often swamped by a lot of
stuff that comes at us externally from outside. While Taylor
Swift is wonderful, she's telling an American story, and we
need to be able to get out there and tell
(12:21):
our own stories with as much power and as much
reach as somebody like Taylor Swift. Taylor's telling a lot
of stories that resonate broadly, But it wouldn't it be
wonderful to have somebody out there with that statue who's
actually Australian.
Speaker 2 (12:37):
Miss Armstrong will be speaking at the Folk Alliance Australia
Conference for Festival Directors in Melbourne light of this month, and.
Speaker 5 (12:44):
We're talking about the future of particularly of folk festivals
in Australia and I'll be speaking on one of the
panels talking about the contribution of festivals to the regions
and place based benefits.
Speaker 2 (13:01):
So just how important are smaller festivals like the Cabargo
Folk Festival and what do people love about them?
Speaker 5 (13:08):
This was mean a whole lot of different things for people,
from coming together in community around good music, from actually
participating to make music, to join in other activities like
dance and song, and generally I think it's for people
to step away from daily life for a little while.
(13:31):
You know, about three days over a weekend in a
beautiful environment with friends and family. All of that, I
think is what why people come to the Cabargo Folk Festival.
Speaker 2 (13:41):
But without volunteers, smaller festivals like Cabargo just wouldn't get
off the ground. A team of three hundred and fifty
volunteers help run the Cabargo Folk Festival, which hosts around
two hundred performers across three days with crowds of up
to six thousand people. And that's well worth a standing ovation.
(14:01):
If you keen to learn more about our local festivals,
try a Google search for the following festivals. Cabargo Folk Wanderer,
Red Hot Summer Tour, guy On and Four Winds. As
Bob Marley once said, one good thing about music when
it hits you feel no pain. That's all for now.
When I Heart Fast South Coast proudly supported by the
New South Wales Government, I'm James Fantasy. Catch you next time.
Speaker 5 (14:31):
I Heart Fast South Coast
Fast South Coast.
Speaker 2 (00:03):
Today, I'm James Fantasy and in this episode we ask
the big question. A lot of live music lovers are
wondering what's causing so many music festivals to pull the plug, rain, hail,
mud pits, whatever the show would usually go on. In
my day, it was festivals like Falls, Big Day Out
or Pyramid Rock. It was almost like a rite of
(00:26):
passage as you moshed next to complete strangers, all drawn
together by the love of live music. Even our PM
Anthony Albanezi, saw Nirvana play at the very first Big
Day Out back in nineteen ninety two. Festivals are just
something most of us love, but in recent years the
festival scene has been under pressure. One of the biggest
(00:46):
shocks came when blues Fest, one of Australia's most iconic
festivals at Byron Bay, announced its final event will take
place next year. Now, this is a festival that's attracted
big names like Bob Dylan and Kendrick Lamar. Crowd of
up to one hundred thousand have flocked to blues Fest
in previous years, with that number down to around sixty
five in twenty twenty four, and one of the acts
(01:09):
booked for the final lineup be in twenty twenty five.
Alongside Crowded House and vance Joy will be one of
our homegrown musos from Pambula. Kim Churchill played his first
blues Fest in two thousand and nine after winning the
Events Busking competition, and since then he's toured the world
and played some of the biggest music festivals like Glastonbury.
(01:31):
Kim says he's honored to be part of the final
blues Fest lineup.
Speaker 3 (01:34):
Yeah, it's an incredible honor to be playing the last
blues Fest. It's been such a huge part of my life.
I won the Busking com back in two thousand and
nine and it's just been such a beautiful and huge
part of my life ever since. So it's a real
honor to be up there with so many my heroes,
so many absolute legends, and like such a historical festival
(01:57):
for Australian music, really really beyond shuffed.
Speaker 2 (02:02):
Blues Fest has had its ups and downs. COVID of
course shut it down in twenty twenty and twenty one,
and last year there was controversy around the billing of
Sydney band Sticky Fingers, which led to artists withdrawals, and
even this year there was a lot of negative reviews
as weather transformed most car parks into muddy quagmires. Despite
(02:22):
these challenges, Kim Churchill says the loss of blues Fest
will leave a big hole in the Aussie music scene.
Speaker 3 (02:28):
I think in general, it is it's a really scary
time to be a big festival. It's a really scary
time to be a big festival. It's a really scary
time to be a small venue. And that is because
there just isn't doesn't seem to be the interest and
the support in going to live music events in small
venues and big festivals. And this is really sad because
they're so fun. There's such a beautiful part of culture,
(02:50):
and I think if they all disappear, everybody is going
to be a lot less happy, and a lot less
joy and contentment will be in all of our lives. So,
you know, I really hope that everybody comes. There's a petition.
The local MP has started a petition up there. Please
sign the petition and if enough people start going festivals again,
then they'll thrive and it'll be a beautiful part of
(03:11):
our culture once again.
Speaker 2 (03:13):
You can find out more on Bluesfest twenty twenty five
and also add your name to that petition to keep
it going at bluesfest dot com dot au. Loads of
music festivals across Australia are feeling like they're on their knees.
Big events like Groove and the Move, Splendor in the
Grass and Spilt Milk all announced they wouldn't be happening
(03:36):
this year, or the Sunny Coasts Caloundra Music Festival has
been called off too closer to home, our very own
Wanderer Festival, which only began in twenty twenty two, made
the switch to a biennial format, only running every two years.
Organizer Simon Daly says this allows them more time to plan,
especially when it comes to booking quality international artists.
Speaker 4 (03:58):
I feel like, you know, what is the date?
Speaker 3 (04:01):
What?
Speaker 4 (04:01):
We all just run a festival every year and everyone
does because that's just a calendar year. But why, you know,
like why do you do that? And I think that
for where we are, being so remote and so regional,
that running something every year I felt was probably and
we're you know, both festivals were just so strong and
(04:22):
so well and landed so well. I think most festivals
seem to go backwards thirty percent if you look sort
of through you know, pretty much all of them, even
the big Red Bash, which is you had so much
media and so successful, but that went back thirty percent.
But Wanderer actually slightly grew last year, so we're really
well positioned. But I still felt that within three or
(04:43):
four years or even two years, that people would start
to those years just come around so quick and with
the cost of living, I felt that if we move
it to every second year, but if you love your
Wanderer and you love love a festival, then to miss
one that would mean you wouldn't see it for four years,
and that's a long time. So I feel like that's
a much more sustainable model and keeps it really fresh
(05:06):
and exciting.
Speaker 2 (05:06):
A bit of a case of less is more, Yeah, definitely.
Held near Bioa National Park and beautiful Pambula Beach, the
Wanderer Festival is known for its multi generational vibe, offering
something for everyone. Simon Daily, who you just heard from,
there is the man behind Wanderer and he knows his stuff.
The now Pambula local founded Falls Festival back in nineteen
(05:27):
ninety three and ran the Lost Lands Festival between twenty
sixteen and twenty nineteen. He has a few theories on
why festivals, especially the bigger events, are struggling.
Speaker 4 (05:37):
Over history, there definitely has been some really big festivals
that have come and gone Livid and Home Bake and Stereosonic,
the Big Day Out. I mean, it's not something unusual.
What is unusual is just how many in such a
quick succession there's been, I guess, and that I think
has been heightened by the pandemic and the post recovery
(06:00):
and then the cost of living pressures. And I think
probably unusually that cost of living pressures has passed down
to a younger generation as well, which maybe have been
less affected in the past.
Speaker 2 (06:09):
Yeah, obviously cost of living is affecting everyone, and you've
touched on a number of the main reasons you think
it's happening there. But you've been in the industry a
long time as well. How much have things changed in
terms of, you know, what's expected of a big festival
from back when you started to now.
Speaker 4 (06:26):
I think there's a gravitation now towards more of an
organic festival and more of a community built festival in
a sense, one where people feel real ownership and love
of it. And then you know in hand the festivals
themselves are also giving back to their audience and treating
(06:47):
them like they are part of the organization. And I
think that kind of festival is the way of the
future in the short term, just in the rebuild of
the festival industry. Ones that come in and rely on
just securing the biggest name act and if the biggest
name act's not there, then you know that event won't
go ahead. That's that's where it's lacking, community of just
(07:10):
we just want this festival no matter what. So I
guess what we'll probably see is more medium size and
smaller events start to kind of become stronger, and then
out of that they'll they'll be growth again. But that's
how I think it'll play out.
Speaker 2 (07:30):
So what does it take to strike the right chord
in sustaining a successful music festival. Up next, we hear
it from the director of one of those smaller festivals,
the Cabargo Folk Festival, Xena Armstrong.
Speaker 4 (07:42):
I are Fast South Coast, I are Fast out Coast.
Speaker 2 (07:49):
Get a James Fantasy with you. Well, it feels as
though there's been a wave of music festivals either being
postponed or canceled. There are still a few bucking that
trend and it may have something to do with promoters
just knowing how critical a lineup is to capturing the
ticket buyer. The Day on the Green series of concerts
is a classic example of that and it continues to
(08:10):
attract big name artists or nostalgia tours. Sometimes the events
getting pulled is beyond anyone's control, like last year's Red
Hot Summer Tour in Bateman's Bay, which had to be
canceled when headline act Jimmy Barnes pulled out after heart surgery.
But as the village people once saying, you can't stop
the music. And this week the new South Wales government
(08:30):
announced a three million dollar emergency fund and new regulations
to help festivals survive. The changes include measures to help
improve safety and reduce overheads, especially the cost of insurance
required to meet complicated regulations. John Graham is the New
South Wales Minister for Music and the Nighttime Economy YEP,
that's two of his portfolios. He says this government support
(08:53):
is crucial.
Speaker 1 (08:54):
We know if we lose them we may not get
them back. That's the unfortunate reality for some of the
festival's last so renouncing a two year package of up
to five hundred thousand dollars assistance for these festivals to
help with costs as we get this regulatory system up
and running to get them through this next two year period.
If we can do that, where confident is a bright
(09:16):
period ahead for music festivals in New South Wales. I've
had a fantastic past. We hope they'll have a fantastic future.
Speaker 2 (09:23):
But that funding doesn't do much for smaller or even
medium sized festivals like Wanderer, and not all music festivals
benefit from government grants. The Cabago Folk Festival is run
by a dedicated team of volunteers and has been going
strong for twenty eight years, largely without any government support.
Sena Armstrong, the festival's director, has been vocal about how smaller,
(09:47):
volunteer run festivals contribute to local communities and provide a
platform for local and emerging musicians.
Speaker 5 (09:53):
We have a youth stage, the Crossing Youth Stage, and
Kim Churchill appeared on our youth stage and we quite
a bit younger, as did Daniel Champagne and Christi Dawd,
Rory Phillips. Quite a number of young people who are
now going on to have careers in Nashville, for example,
like Daniel has appeared on our U stage. It's one
(10:15):
of the most important ways that the festival has contributed
to artistic development in the Shia and it's fantastic to
see these people who started as quite young musicians go
on to do some amazing things.
Speaker 2 (10:29):
Xena has made three submissions to various government inquiries, one
to the Federal Government's National Cultural Policy, one to New
South Wales Cultural Policy and another to the Federal Live
Music Inquiry. She's hoping this will lead to better recognition
and support for regional festivals well, hoping that.
Speaker 5 (10:47):
There will be a deeper understanding of what rural and
regional events and festivals what we actually provide in terms
of supporting are really rich cultural environment in rural and
regional areas and the value so much of what we
do is based on helping artists tell their stories, and
(11:11):
we argue that rural and regional stories are just as
important as stories that might be being produced by artists
in the cities. And in fact there's real richness and
depth and a lot of untold stories in rural and
regional Australia that deserve to be heard, not just here
in Australia, but internationally as well. I'm always struck by
(11:36):
the richness of story where I live, in particular around Cabago,
right up and down the South Coast, and when you
actually venture outside the cities, there is so much depth
and there's so much beauty to be heard and that
deserves to be expressed, and it all adds to the
(11:59):
picture of ourselves Australians. I really feel that we need
to hear Australian stories. We need to learn more about ourselves,
and we're kind of often swamped by a lot of
stuff that comes at us externally from outside. While Taylor
Swift is wonderful, she's telling an American story, and we
need to be able to get out there and tell
(12:21):
our own stories with as much power and as much
reach as somebody like Taylor Swift. Taylor's telling a lot
of stories that resonate broadly, But it wouldn't it be
wonderful to have somebody out there with that statue who's
actually Australian.
Speaker 2 (12:37):
Miss Armstrong will be speaking at the Folk Alliance Australia
Conference for Festival Directors in Melbourne light of this month, and.
Speaker 5 (12:44):
We're talking about the future of particularly of folk festivals
in Australia and I'll be speaking on one of the
panels talking about the contribution of festivals to the regions
and place based benefits.
Speaker 2 (13:01):
So just how important are smaller festivals like the Cabargo
Folk Festival and what do people love about them?
Speaker 5 (13:08):
This was mean a whole lot of different things for people,
from coming together in community around good music, from actually
participating to make music, to join in other activities like
dance and song, and generally I think it's for people
to step away from daily life for a little while.
(13:31):
You know, about three days over a weekend in a
beautiful environment with friends and family. All of that, I
think is what why people come to the Cabargo Folk Festival.
Speaker 2 (13:41):
But without volunteers, smaller festivals like Cabargo just wouldn't get
off the ground. A team of three hundred and fifty
volunteers help run the Cabargo Folk Festival, which hosts around
two hundred performers across three days with crowds of up
to six thousand people. And that's well worth a standing ovation.
(14:01):
If you keen to learn more about our local festivals,
try a Google search for the following festivals. Cabargo Folk Wanderer,
Red Hot Summer Tour, guy On and Four Winds. As
Bob Marley once said, one good thing about music when
it hits you feel no pain. That's all for now.
When I Heart Fast South Coast proudly supported by the
New South Wales Government, I'm James Fantasy. Catch you next time.
Speaker 5 (14:31):
I Heart Fast South Coast
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