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‘I puked virtually every morning’: inside the stressful life of a festival organiser
You’re battling rising costs to source enough essentials for a small city and always competing for the best acts. So why would anyone run a festival? We speak to those behind Green Man, Parklife and Krankenhaus to find out
If people buy into it, there’s an emotional connection and it becomes something of cultural importance Sam Kandel On the morning the festival opened its gates, Stewart soothed nerves by booking Welsh drag artists in PPE to greet festival-goers before they took Covid tests. The vast majority are independent, although the top end of the market, bar Green Man, Glastonbury and Womad, is dominated by the corporate giants: Live Nation (Reading/Leeds, Download, Latitude, Wireless) and AEG Presents (BST Hyde Park, All Points East, Eden Sessions). The first Krankenhaus, in 2019, was put together in just four months as a “glorified Sea Power gig” with 400 fans and a lineup consisting of the band’s friends, including the poet Simon Armitage and the snooker star turned DJ Steve Davis.
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