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www.fasterlouder.com.au

Splendour's call to arms

While many punters are still nursing hang-overs from this year’s Splendour InThe Grass the festival’s organisers are already thinking about 2012’s event, calling on attendees to help Splendour return to its spiritual home in Byron Bay.

It’s been over three year’s since the festival’s organisers purchased land at Yelgun in the North Byron Parkland, where they hope to establish the festival permanently. However, since buying the new site Splendour has faced serious opposition from the local council who want to enforce a LEP ( Local Environmental Plan ) amendment which would limit major music events, that have 6000 patrons and take place over two days.

In a statement released on their website Splendour has detailed the issue, saying that “Byron Shire Council’s report to State Government omitted the fact that the majority of public submissions opposed their policy. They further omitted the fact that their own planning staff opposed it.”

Byron Bay Chamber of Commerce president Sevegne Newton recently told community newspaper The Northern Star that the absence of the festival has adversely affected the local community and that she wants to see the festival’s application for relocation approved. The paper reports that: “Splendour in the Grass, which was held at Woodford at the weekend, was widely regarded as the key to avoiding the winter “trough” and its loss has been devastating.”

Splendour is calling on the public to help build their case for the festivals return to Byron, and have set up a website where you can do just that. Submissions are due by 4:00pm on Thursday 18th August.

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ThatDude123

ThatDude123 said on the 8th Aug, 2011

I've withheld talking about my experience in detail at Splendour out of fear of RustyInBondi, idiots or both. Also because I believe this infographic to be correct in regards to everything.

But this one time, ONE TIME, I need to say something.

Splendour in the Grass is not your tiny niche festival for hipsters, or at least it isn't anymore. It's also not your Big Day out yearly allsorts touring fest, nor Soundwave's/Harvest's/Future's big-budget niche fest. It's the truest thing that we have to a European mid-to-large-level music festival within the constraints of our geographical distance, musical culture and local laws. It doesn't want to be anything other than that. It want's to be big, it wants to create the type of mini-cities bonnaroo, Roskilde and Burning Man thrive off, while having the line-up of a Glastonbury, Coachella or T In the Park.

In my view, this is excellent because we're finally getting the type of festival experience many live music lovers move elsewhere to get. But it needs a lot of fine tuning. And I do mean a lot.

First, some refuting of the straw man arguments I've seen mentioned:

Kanye West did nothing wrong to the festival. there are things wrong with the crowd that I will address shortly, but overall his fans, and the forever-elusive number of punters he detracted from buying a ticket, did neither good nor bad. On that note, the idea of someone detracting sales but also encouraging them is a fallacy to begin with.
When you program a great, yet has-been band that failed to sell out the Enmore and weren't even going to headline when you last booked them, at the same time as the only 2011 performance of one of the most beloved singer-songwriters recording at the moment, and one of Australia's favourite dance acts, don't expect anyone bar devoted fans to show up.
The price, when calculated as a percentage of the average person's profit is relative to most festivals around the world. I can pull up the numbers if you need proof but, to put it at the simplest of terms, scaling dictates that we pay figuratively less than Japan and parts of Europe (but not the US but that was pre-debt raising so that might change very quickly)
We are spoilt for sideshows when compared to overseas (mostly due to the nature of the contracts the sign here in oz). More acts stick around before, after or during a festival to do shows here than anywhere else. You also have to remember that we are a very large country with a very small population as well: it makes a lot more economic sense to stick to the east coast unless you can guarantee above-average ticket sales (like, let's say, a satellite festival with 1/3rd of the acts could).


Okay, onto what I believe needs to be done:


Yes, it's sponsored by a "youth" radio station and all about the "young" bands but, fuck, if the QLD police trained their sniffer dogs to pick up fake IDs it'd not only do more good but probably catch out more contraband. If it wants to recreate the feel of a good euro/us/japanese fests it'd best start by appealing to a wider demographic. It'd also help lower the shithead ratio if shitheads are shamed into acting more maturely by an older crowd.
Having a stage that primarily plays large basslines 200m downhill from an acoustic/jazz stage is bad. Having the stage and PA set up so that it faces and thus reverberates up the hill is worse. Having no clear noise barrier (like an exit point that places movement and clear space between the two areas)is even worse. Having artists and DJs that demand loud basslines whilst one of your tentpole acts plays to a crowd larger than the tent you've provided... Now you're just shooting yourself in the foot.
Having some screens at the GW McLennan would be nice, actually.
This festival needs at least two more stages. Yes I want this festival to expand, but within reason. As it stands, sets on the main stage are too short until roughly 5pm, bands who need space both on-stage and off can't get it at GW McLennan, and both DJs and artists alike have to fight with constant sound readjustments at the Mix-Up tent, so much that the first 10 minutes of every set may as well be a soundcheck. Having a mid-size supertop or "other" stage would be the next logical step, which could host bands like Foster The People who couldnt fit the main stage but will draw a crowd, as well as smaller acts that are stuck on the main stage because they don't fit the niches of the other two stages (Mona, Danananackroyd, etc). The other possible idea is the segmentation of the two current uses of the GW McLennan tent into two stages: one staying as the more quiet, acoustic/ambient stage whilst the other being for jazz/blues/funk and hip-hop
It needs to work with arts communities more than it does, possibly with the creation of a permanent artistic location a la Roskilde's Trash City, Glastonbury's South-East District or Burning Man's, um, everything. You need to make the art and culture as much a part of the experience as the music so that when people want to avoid the crowds but still want a good time, they are not automatically drawn to the bars.
It needs to barter itself as an international event. This is one place where Fuji Rock and SummerSonic have a clear head start. If we want to be a large music festival, it cant play the same games every other Australian fest plays. It needs to focus on developing a culture of bringing in great, big name acts that will draw fans and casual observers alike, as well as appealing to a broad range of tastes. Splendour's bookers took a massive leap of faith with Kanye and Coldplay, two bands deemed inappropriate in both style and size for the fest, and the only headliner who failed to deliver was the considered "safe bet" of Jane's Addiction. It needs to build on this goodwill: book more diverse acts, arrange itself to have distinct areas for all of it's niches but never segregating crowds, work with international publications for better publicity, maybe even do as some US festivals have done and have a celebrity-guest-curated stage (And it can be suprising how good the taste of some celebrities can be). If it wants to build capital as a tourism event for Australia then it has to stop playing by the rules of the Australian Festival scene. This will mean less flavour-of-the-month and possibly less Australian acts but it will pay off.
It needs to value what its audience does right: Splendour had some amazing moments of collective joy: from the funny-turned-annoying-turned-hilarious "ALAN! STEVE!" calls to the Cloud Control crowd to Regina Spektor's audience helping her with her words whenever she forgot them. Not one has been mentioned by Splendour in the Grass, Secret Sounds... hell, on the video replay of Cloud Control's set the single best thing about the set is practically non-existent. Great festivals become great because of the people, not because of the bands. On in other words, all thing considered the lineup of the Gathering of the Juggalos is not that bad. People will come back for the experience they can't get at any other festival.


That's all I can think of so far. Splendour are at the edge of achieving something very different to anything else on the Australian music landscape: a large-scale fest that brings the best of what traditional international festivals do to our shores. It will not be for everyone: just like ATP UK/USA and UK Field Day are the anti-Glastonbury, Meredith, Laneway and Golden Plains will remain the anti-Splendour. But I support them because I feel for Australian music this is an important step. We have more festivals per capita than any other country but we are yet to have anything that stands tall amongst the others in the world. Splendour has proven that it's close to reaching that point and when it does a lot more good will be done than bad, I believe.

p1owz0r

p1owz0r said on the 9th Aug, 2011

I think the issue is still the cost and the headliners.

If they can pitch it in say the high $300 range that's a much more palatable number, taking into account the strength of the dollar which means everything is expensive over here, not just music festivals.

Even if they don't (or can't) why not just spread the money a little further? Headliners don't need to be as big as Coldplay or Kan Ye. I reckon you could put on a whole stage for a day for the cost of those guys, and keep the headliners as your 'big but still indie' bands, Pulp, Flaming Lips, The Strokes, whoever.

Also the point re sideshows, yes we are well served for these but lets take that into account against the overall package - bands can come here and sell out bigger venues (in many cases) than they would in UK or US, and at comparitively higher prices - that makes Australia an attractive place for bands to visit and to stick around for a couple of weeks for...not to mention the fact it's a fucking great country.

Why keep the big guys contracted to play one show with no side shows? if they don't have the time in their schedule that is fine, but if they do, perhaps they could let them play shows in other states, knowing that this means less out of the ticket price for the festival goes to paying the band.

I know the other side is that they think people wll pay the $500 odd and whatever else because they are huge fans of whoever, but realistically how many people can that apply to?

My vote is that if they want a festival that competes with Europe and the US, and apolgies in advance Queenslanders, is that they should do a Reading/Leeds type event in Sydney and Melbourne, or even a V Festival UK type thing where it's a Saturday and Sunday, in the two biggest cities, in a bigger site.

Braveheart81

Braveheart81 said on the 9th Aug, 2011

Also the point re sideshows, yes we are well served for these but lets take that into account against the overall package - bands can come here and sell out bigger venues (in many cases) than they would in UK or US, and at comparitively higher prices - that makes Australia an attractive place for bands to visit and to stick around for a couple of weeks for...not to mention the fact it's a fucking great country.

Why keep the big guys contracted to play one show with no side shows? if they don't have the time in their schedule that is fine, but if they do, perhaps they could let them play shows in other states, knowing that this means less out of the ticket price for the festival goes to paying the band.


I think a big part of the sideshow issue is that an artist like Kanye might be charging a certain amount for the show. If you're paying him $500,000 to play Splendour then it's unlikely he'll say "I'll play a sideshow at the Hordern and you only have to pay me $100,000." For the promoter to get him to play another show they'd need to go for a venue like Acer Arena which would carry a substantial financial risk and require plenty of staff to organise. Given that they will be concurrently organising the festival and other sideshows it is highly unlikely that the promoter will have idle staff ready to do these things.

There is definitely an element of not having Brisbane sideshows so you don't cannabilise your own audience. I understand the promoter's rationale behind this completely. They would be increasing their risk and workload for what might be only a small increase in profit. When the festival doesn't sell out, this point becomes more important.

p1owz0r

p1owz0r said on the 9th Aug, 2011

I think a big part of the sideshow issue is that an artist like Kanye might be charging a certain amount for the show. If you're paying him $500,000 to play Splendour then it's unlikely he'll say "I'll play a sideshow at the Hordern and you only have to pay me $100,000." For the promoter to get him to play another show they'd need to go for a venue like Acer Arena which would carry a substantial financial risk and require plenty of staff to organise. Given that they will be concurrently organising the festival and other sideshows it is highly unlikely that the promoter will have idle staff ready to do these things.

There is definitely an element of not having Brisbane sideshows so you don't cannabilise your own audience. I understand the promoter's rationale behind this completely. They would be increasing their risk and workload for what might be only a small increase in profit. When the festival doesn't sell out, this point becomes more important.

The latter point is of course complete common sense and I totally agree.

As for the former, I think it's more of a case of saying 'you'll get $xyz for these dates and making that stack up to a sum that is worthwhile for him to take the time out for.

As far as arena shows carrying risk, they obviously do in comparsion to theatre shows, but at the end of the day I'd bet large sums of money (if i were allowed to) that either of this years headliners would sell out an arena in Melbourne and Sydney.

So I just googles where do the fees go for concerts. I don't know if this is accurate but here is the article http://www.wisebread.com/how-much-a-breakdown-of-concert-ticket-prices

They are saying 74% of the money goes to the talent - so if you have someone like Kan Ye selling out Acer for one night, I think (please correct me, i may be wrong) the capacity is 21k or so? if that is the case and the show is $100, he is getting $74 a ticket, lets keep the maths simple and assume the crappy australian support gets peanuts, that equates to a million and a half dollars to the talent.

Hmmm is that right, sounds like too much now i've written it all down.