Festival lineups are coming in thick and fast as events in the US, Europe, and Australia deliver impressive programmes for 2025.

Texas’s Austin City Limits revealed its stellar lineup yesterday, with headliners Sabrina Carpenter, Hozier, Doja Cat, Luke Combs, The Strokes, John Summit, and Doechii on tap. The nine-stage, two-weekend festival returns to Zilker Park from 3-5 and 10-13 October.

Feid, Cage the Elephant, T-Pain, Empire of the Sun, Djo, Pierce the Veil, Rilo Kiley, Maren Morris, Mk.gee, Zeds Dead, and Sammy Virji will also perform at the Live Nation/C3 Presents-backed festival.

Australia’s Spilt Milk will pick things back up this year, after cancelling its flagship festival for 2024. Kendrick Lamar, Doechii, Sara Landry, Dominic Fike, Schoolboy Q, d4vd, Nessa Barrett, Skin on Skin, Sombr, and a variety of others are set to perform at the touring festival later this year.

The event will visit Ballarat (6 December), Perth (7), Canberra (13), and the Gold Coast (14), and is being met with incredible demand as organisers shared that presale registrations outnumbered available tickets.

“That was genuinely our biggest presale ever,” organisers posted online. It is expected to sell out during tomorrow’s general sale.

Portugal’s Nos Alive has rounded out its headliner pool with Anyma, the electronic artist’s debut in the country. He joins Olivia Rodrigo, Noah Kahan, Justice, Kings of Leon, Nine Inch Nails, Sam Fender, Benson Boone, and a slate of others for the 10-12 July festival, which returns to Passeio Marítimo de Algés for its 17th edition.

“The long weekend is set for what promises to be one of the most powerful chapters”

Germany’s biggest electronic festival, Parookaville, has completed its 10-year anniversary lineup with Boris Brejcha and Dimitri Vegas rounding out its headliners. Set for 18-20 July at Weeze Airport, the 85,000-capacity gathering also added Dr. Peacock, Hypaton, NOTION, Schrotthagen, Avaion, Cyril, Fedde le Grand, and Fast Boy to its variety of performers.

Previously announced acts include Afrojack, Alok, Armin van Buuren, Artbat, Hardwell, I Hate Models, Indira Paganotto, Meute, Robin Schulz, Steve Aoki, and Timmy Trumpet.

The UK’s Boomtown is celebrating a sell-out edition for its forthcoming 6-10 August event. Roughly 66,000 attendees will descend on Matterley Bowl in Hampshire to see names ranging from Sean Paul and Azealia Banks to Sex Pistols ft. Frank Carter, The Wailers, and Fat Dog. Nia Archives, Girls Don’t Sync, Joy Orbison, Overmono and Rudimental are also on tap.

“The long weekend is set for what promises to be one of the most powerful chapters in Boomtown history,” organisers shared.

The Netherlands’ Zuiderpark Live has finalised its lineup for its 5th edition. The Hague open-air concert series, organised by Greenhouse Talent and Stichting Zuiderparktheater, added Yves Berendse and Eefje de Visser to its programme, which also includes Edwin Evers Band, Spinvis, Diggy Dex, Danny Vera and Ruth Jacott.

England’s 2000trees Music Festival added Trash Boat, Cloud Nothings, Split Chain, and Calva Louise to its bill, which is led by Kneecap, Pvris, Taking Back Sunday, Coheed and Cambria, and Alexisonfire. The rock/indie festival returns to Cheltenham’s Upcote Farm from 9-12 July.

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Chicago’s Michelada Fest, a Latin music festival in the US, has cancelled its 2025 edition due to a “rapidly changing political climate” across the nation.

The two-day festival was set to return to Illinois’ Oakwood Beach from 19-20 July, but organisers cited “uncertainty surrounding artist visas” as part of their rationale for cancelling the upcoming edition. Danny Ocean, Anitta, Grupo Firme, and Netón Vega were on tap to headline.

“We’re no longer able to guarantee the full experience we had dreamed up for you with all your favorite artists. Although we tried to push through, it became clear that we wouldn’t be able to deliver the full lineup as planned,” organisers wrote online.

“This was not an easy decision for us to make. For seven years, we’ve poured everything into this festival to create something truly special for our community. Last year was our most incredible celebration yet, and we were ready to make this year even bigger, with more energy, creativity, and corazón.

“But as independent organisers, we can’t afford to take on a big risk with so much uncertainty ahead.”

The decision comes a month after the regional Mexican band Los Alegres del Barranco’s US visas were revoked for “glorifying a drug kingpin” after displaying an image of cartel leader El Mencho at a show in Zapopan, near Guadalajara. The band was scheduled for over a dozen shows across the US, including the festival.

Following the group’s visa cancellation, deputy secretary of state Christopher Landau wrote: “In the Trump administration, we take seriously our responsibility over foreigners’ access to our country. The last thing we need is a welcome mat for people who extol criminals and terrorists.”

Co-produced by Big Indie, Zamora Live and Viva Tu Musica, Michelada Fest began in 2019 and quickly scaled up from a street festival to a 20,000-capacity event on the Lake Michigan shore. Past performers include Kali Uchis, Junior H, Prince Royce, and Natti Natasha.

“We don’t want to take a chance and put our community at risk”

“We’re heartbroken by the greater impact this will have on our involved community, with ripple effects reaching our neighbourhoods, local economy and the culture we’ve built together. But despite this setback, we remain committed to our values,” organisers shared.

“Michelada Fest will always be a safe place where our community comes together, united by pride and love of our culture and music. That won’t ever change. We’ll keep showing up, giving back, and uplifting our people in every way we can.”

This development is the latest instance of touring artists experiencing visa complications under the Trump administration. Last month, FKA twigs pulled out of her Coachella performances as a result of “ongoing visa issues”, along with several headline shows. British punk rock band UK Subs were turned away at the border in March, and Canadian indie-folk band Shred Kelly cancelled their tour in April after a series of issues with shifting regulations.

“We were feeling generally uneasy about how quickly things are changing in the US,” the band said in a statement. “Human rights are not being valued in the way they once were, and due process seems to be optional. New laws or regulations seem [to] change daily, and we couldn’t feel at ease working in the US for the next nine months and crossing the border multiple times.”

CNN recently reported that cultural events across the US are being nixed over fears of deportations and raids from federal immigration agents. Chicago’s own Cinco de Mayo parade, which typically attracts around 300,000 people, was cancelled ahead of the Mexican national holiday earlier this week.

“We don’t want to take a chance and put our community at risk. It’s a loss economically, but we put safety over money,” said Hector Escobar, who helps organise the event.

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As the northern hemisphere’s festival season swiftly approaches, events across Europe, the US, and Asia have added names to their stacked lineups.

Roskilde Festival has completed its 2025 lineup, adding names like The Raveonettes, Seu Jorge, Rachel Chinouriri, MRCY, Aya, and Astrid Sonne. The independent Danish festival, which is set to run between 28 June-5 July, will be anchored by Charli XCX, Olivia Rodrigo, Stormzy, Nine Inch Nails, Tyla, Doechii, Deftones, and many more.

“Our 2025 lineup presents 185 acts from 45 countries – a reflection of the energy, creativity, and global spirit that make Roskilde Festival one of the most vital festivals anywhere and offer not only a reflection of the present moment, but also a window into the sounds, trends, and expressions that will shape our future,” says Thomas Sønderby Jepsen, head of music.

Flow Festival have revealed it will welcome Burna Boy back to its Helsinki power plant festival grounds for its 21st edition this year. The 8-10 August event also added Black Star (Yasiin Bey & Talib Kweli), Goldielocks, Oranssi Pazuzu to a lineup featuring the likes of Charli xcx, FKA twigs, Fontaines D.C., Khruangbin, Little Simz, Yung Lean & Bladee, Underworld, Air, Bicep Present Chroma (AV DJ Set), Lola Young, Beth Gibbons, and Kneecap.

Muse has been added as a headliner of Poland’s Open’er Festival, set for 2-5 July in Gdynia. The British rock band will join previously announced acts Linkin Park, Massive Attack, Nine Inch Nails, Gracie Abrams, Doechii, Justice, Camila Cabello, FKA Twigs, Tyla, St. Vincent, Caribou, Lola Young, Magdalena Bay, plus others.

Summer Sonic Bangkok has added Alicia Keys as a headliner for the 23-24 August at Impact Challenger Hall. The Grammy Award-winner was announced alongside South Korean rapper Chanyeol, Thai singer Jeff Satur, K-pop group KickFlip, Japanese producer Kikuo, all of which will join Black Eyed Peas, Camila Cabello, Baby Metal, Creepy Nuts, The Rose, Be:First, and Bus.

“We are always pushing the boundary with the experiences we offer the fans”

Eddie Vedder and Earthlings, Green Day, and Hozier will lead the Live Nation-backed, Vedder-founded Ohana Festival and will return to Doheny State Beach in Dana Point from 26-28 September. Kings of Leon, Cage The Elephant, Leon Bridges, Rainbow Kitten Surprise, Garbage, Wet Leg, Tedeschi Trucks Band, Royel Otis, Stereophonics, and Lukas Nelson are also set to perform.

Green Day will also head up Chicago’s Riot Fest for its 20th anniversary edition, with this year’s lineup stacked with blink-182, Weezer, Jack White, the Sex Pistols, “Weird Al” Yankovic, Idles, Alkaline Trio, All Time Low, and more. The festival returns to Douglass Park from 19-21 September.

Australia’s first-ever metal cruise festival, Hellbound, has revealed its inaugural lineup: Parkway Drive, Polaris, The Butterfly Effect, Northlane, Make Them Suffer, and In Hearts Wake. The Destroy All Lines-promoted venture will feature all-Aussie talent, and will make a return trip to Sydney’s Darling Harbour from 22-25 October.

“I have been in discussion with [music cruise operators] Choose Your Cruise for years discussing a way to launch a metal cruise in Australia, and I’m absolutely thrilled we have managed to pull this off,” says Chris O’Brien, Destroy All Lines head promoter. “We are always pushing the boundary with the experiences we offer the fans, and ‘Hellbound’ is going to be one for the ages!”

All Things Go‘s second New York edition, set for 26-28 September at Forest Hills Stadium, will be headed up by Lucy Dacu, Djo, Doechii, Remi Wolf, Clairo, and The Marías. Lola Young, The Last Dinner Party, Griff, Rachel Chinouriri, and Gigi Perez are also on the lineup.

And Metallica will join Katy Perry and Benson Boone as headlining acts for the Abu Dhabi Formula 1 Grand Prix post-race concert series at Etihad Park from 4-7 December. Kygo, Pitbull, DJ Tiësto, Kaskade, Sofi Tukker and Cedric Gervais are on tap for the Miami Grand Prix this weekend.

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The European Festival Report (EFR) 2024, a packed annual summary of the biggest trends, happenings, and initiatives on the continent’s festival scene, was published last month.

In this excerpt from this indispensable guide, Ruisrock promoter & co-owner Mikko Niemelä discusses another sold-out edition despite rising challenges, the struggle to secure major headliners, and the cultural responsibilities of festivals.

How was this summer’s festival season for you?
This summer was the 53rd time Ruisrock took place, and it was another great success. We sold out all three days, with 35,000 visitors each day. Feedback from both our audience and artists has been extremely positive, and with everything going as planned, I’m very happy with how it turned out.

One of the highlights was a unique performance on our legendary Ranta Stage by Fröbelin Palikat. They’ve been making music just for children throughout their almost 40-year career, and this was their first show for an adult audience. What happened was incredible: 35,000 people singing, dancing, and playing to the songs they knew from childhood. It was truly a legendary, once-in-a-lifetime show, and we’re proud it happened at Ruisrock.

Our negative issue this year was weather-related. There was a severe storm warning issued for Sunday of the festival. The winds were heavy, and we were already preparing to stop some of the shows on certain stages. But fortunately, the winds eased by evening, so we were able to keep the shows running by rescaling and removing some of the LED screens. It was a good test of our emergency protocols, which worked extremely smoothly.

“People are more cautious about spending on leisure, so festivals really need to ensure the ticket is worth every penny”

What challenges does the festival industry face?
The main challenge is keeping up with rising costs while maintaining a high-quality experience that keeps the business sustainable long-term. As production costs rise, customer expectations are also increasing. People are more cautious about spending on leisure, so festivals really need to ensure the ticket is worth every penny.

We work hard to make sure our entire experience offers value – from the amount of content we provide to the level of service and care we put into it. But it’s essential to keep that balance and evolve with audience expectations if festivals are to stay relevant in the long run.

What trends do you see shaping festivals in the future?
One trend is that the biggest headliners are becoming out of reach even for major festivals, as artists like Adele and Taylor Swift are focusing on exclusive headline shows where they control all aspects and revenue streams. This is pushing festivals to turn to newer emerging talent or nostalgia acts that still have the ability to attract large audiences.

Another trend is the use of technology, which I think we’re only beginning to explore. Festivals remain a very live,
in-the-moment experience, but as the world shifts towards virtual platforms, that will impact festivals, too. What we see on stage and how the festival is experienced could look very different in the future, so we need to keep up with these changes to stay relevant.

And, increasingly, sustainability will be something people expect as a baseline. We have to understand the values of our audience and reflect them in our event planning and production. People might simply decide not to attend if they feel it’s not aligned with what they believe is right.

“With so many global issues, festivals have a responsibility to use their voice for good”

What steps are you taking for DEI (diversity, equity and inclusion) at Ruisrock?
Sustainability is one of our core values at Ruisrock, and we do a lot to make the festival as inclusive as possible on environmental, social, and economic fronts. Our main tool to ensure inclusivity is our Festival Etiquette – a straightforward list of what’s okay and what’s not – and everyone must agree to these rules when they buy a ticket. This makes it easier for attendees to call each other out if someone isn’t following the guidelines.

We’ve also signed the Keychange pledge, programming a balanced 50/50 lineup for several years. For visitor diversity, we give free access to elderly fans over 70, and demand for these tickets is huge. Our island location can be challenging for attendees with special needs, so we work hard to make the site accessible, often with custom support to help them enjoy the festival fully.

What role do festivals play in the cultural landscape?
Festivals have a huge role in providing a platform for different ideas and art forms, exposing people to things they might not experience otherwise. In a world that’s increasingly polarised, I believe festivals play an important role in bringing people together who may not always share the same views.

With so many global issues, festivals have a responsibility to use their voice for good. We attract a lot of attention and have the chance to bring people together to think, connect, and even push for positive change. It’s something I feel strongly about – we can and should use our influence to try and make things better.

The third edition of the European Festival Report, from IQ and festival association Yourope, is available to read online for free.

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The European Festival Report (EFR) 2024, a packed annual summary of the biggest trends, happenings, and initiatives on the continent’s festival scene, was published in December.

In this excerpt from this indispensable guide, Primavera Sound’s head of press Marta Pallarès discusses the emerging headliner shortage, why Primavera puts focus on gender-balanced lineups, and the benefits around spotlighting diversity and accessibility.

How was this summer’s festival season for you?
Primavera Sound is always the first festival in the season. This year was particularly rewarding – we finally found the perfect format that we want for the festival in Barcelona. It was very stable, felt like a homecoming, and really embraced the city. Barcelona is our main headliner, in a way, and finding the right format for the festival to complement that is something we’re really proud of.

What challenges does the festival industry face? And how are you aiming to address them?
The biggest challenge ahead for festivals is the lack of headliners. Artists are leaning more towards stadium shows, where they have better control over production and merchandise. Of course, we need big names, but at Primavera, we also aim to create our own headliners by thinking outside the box. Especially since 2019, with our first-ever gender-balanced lineup, we made several artists a headliner even though some people questioned it.

But we believed in them, and it turned out to be the right choice. We rely on our instinct to craft a lineup that makes sense as a whole – it’s almost like being a trusted friend to our audience, someone who introduces them to new music they’ll love. It’s a way of keeping our lineup fresh and meaningful, despite the industry challenges.

“Diversity on stage brings diversity in the audience”

What trends do you think we will see play out in the next few years at festivals?
I think we’re going to see festivals that are more diverse, respectful, and sustainable. These issues are core values for the new generations. You simply can’t have a festival that doesn’t offer vegan food or that ends up covered in plastic cups – it doesn’t match today’s expectations. Artists are also increasingly using their platforms for activism, so festivals need to keep up.

For example, Massive Attack have been vocal about environmental issues, and artists have been central to recent political movements. While making sustainable festivals affordable is still a challenge, I think we’ll find a way forward as a society.

Can you share some of the DEI (diversity, equity, and inclusion) measures or initiatives you have in place at Primavera to ensure they are welcoming places for everyone?
Diversity on stage brings diversity in the audience – it’s that simple. We started with gender-balanced lineups, which had an immediate impact. From there, we developed the Nobody is Normal protocol, which promotes a safe experience at our festival. Nobody is Normal is more than an anti-harassment protocol; it’s about spreading inclusiveness.

We worked with specialists in gender violence, law, and mental health to create a protocol that doesn’t just react to incidents but sets a standard. It’s about encouraging everyone, including women, LGBTQ+ individuals, and non-conforming people, to express themselves freely and feel safe. We want everyone to know that this is how we do things here – everyone is welcome to be themselves.

“Festivals are special because they create space for discovery and the unexpected”

We also take accessibility seriously. We have special seating areas, accessible paths, and we welcome assistance dogs. For attendees who feel overwhelmed or have sensory sensitivities, we’ve created safe spaces where they can take a break. But we still want to do more, particularly for people with non-visible disabilities, which is something we’re working toward.

What role do festivals play in the cultural landscape?
Festivals bring people together in a way that few spaces do. Coming out of the pandemic, we’ve all realised just how much we longed for human connection. Festivals are special because they create space for discovery and the unexpected. You might come for a specific headliner but end up finding new artists you love or make unexpected connections with people. It’s not like going to a concert, where you know what to expect – it’s a whole world of surprise and spontaneity.

If you’ve never been to a festival, you might think it’s just too expensive, but when you get the chance to go, you realise it’s much more than a concert. It’s about community, music, and discovery. It’s a way to encourage openness and curiosity that I think benefits people, culturally and socially.

The third edition of the European Festival Report, from IQ and festival association Yourope, is available to read online for free.

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The debut edition of Western Australia’s You & Me Festival has been cancelled, dealing another blow to a suffering festival scene in the country.

The multi-day event, set for 29-31 December in Bunbury (175 km south of Perth), was created by Together Group and Palace J Entertainment “with the aim of innovating the festival game to bring back camping festivals to WA for good,” organisers said on their website.

But more than a month out from the inaugural event — set to be headlined by rapper Soulja Boy and Australian singer-songwriter Ruel — organisers have announced it can no longer proceed.

“I explored every possible avenue for the festival to go ahead, however unfortunately it was just not feasible,” the team wrote on Instagram.

“I just ask one thing. Please keep supporting Australian festivals and live music or they will be gone before you know it.”

Festival founder Bailey Chalmers explained the decision to ABC News, citing poor ticket sales, high insurance costs and a last-minute withdrawal of an unnamed international headliner who “was unable to get into the country,” Chalmers said.

“Unless you can find a replacement of similar calibre, it becomes an issue of try[ing] to go ahead with a very different show than was originally advertised,” he said. Chalmers also expressed hope in reestablishing the event when the sector is in a stronger position.

“The arts, and events like Bluesfest, are worth protecting”

The Australian festival scene has had a year of intense setbacks, as several major festivals — like Splendour in the Grass, Groovin the Moo, and Return to Rio — called it quits for the 2024/25 season. As costs for festivals skyrocket — some higher than 500% — the Australian sector finds itself in crisis.

Despite festivals in the country generating revenue of $355m (€218m) last year, the sector is still battling to stay afloat in a challenging and changing market.

“While attendance and revenue peaked in 2023, the pausing or cancellation of festivals this year shows some parts of our industry are still dealing with very challenging business conditions due to higher operating costs, changing audience preferences and ongoing cost of living pressures,” said Evelyn Richardson, CEO of Live Performance Australia, earlier this year.

In April, Creative Australia found that only half of Australian festivals are profitable, with rising costs, lack of funding, insurance, and extreme weather being the most significant barriers to running festivals in the country.

But the determination to rebuild for the future is palpable, with Bluesfest festival director Peter Noble saying the long-running event, which is set to draw its curtains after the April edition, “doesn’t have to be the last”.

“I firmly believe Bluesfest is something worth preserving – not just for today’s music lovers, but for future generations, including those who haven’t even been born yet. The arts, and events like Bluesfest, are worth protecting. It’s something we believe is worth fighting for,” he said in a letter.

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Disneyland Paris will debut a new musical offering next spring, the park’s first-ever Disney Music Festival.

Beginning in April, the running music event will showcase live performances of both Disney classics and contemporary hits from the global brand’s film catalogue. The event is set to run until 7 September 2025.

“All across the park, venues will come alive with melodies, concerts, and shows that reflect the rich, diverse musical worlds of Disney and Pixar,” the company announced.

Performances will range from greatest hits concerts to character-driven productions, like Minnie Mouse’s marching band parade, designed to immerse audiences around the park.

“With live performances by singers interpreting both beloved classics and contemporary hits from Disney Animation and Pixar animated films, this musical event will have every generation singing and dancing along.”

In addition to the festival, Disneyland Paris also unveiled a nighttime spectacular, dubbed Disney Tales of Magic. The 20-minute nighttime show will blend pyrotechnics, lasers, an immersive audio system, and drones to “redefine the magic of Disney and Pixar storytelling through a one-of-a-kind technological display”.

“At Disneyland Paris, we’ve always strived to push the boundaries of what’s possible in nighttime entertainment, and Disney Tales of Magic takes that vision even further,” said Natacha Rafalski, Disneyland Paris president.

Disney has spent the past year celebrating the first 100 years of the corporation with Disney 100: The Exhibition

“Our teams have crafted something truly magical, an experience that will captivate and inspire guests for years to come. Building on our legacy of innovation, creativity, and storytelling, we’re excited for this show to become a lasting part of the story of Disneyland Park,” Rafalski said.

Beyond the parks, Disney has spent the past year celebrating the first 100 years of the corporation with Disney 100: The Exhibition. Featured in IQ’s Touring Entertainment Report 2024, the touring spectacle features over 250 artefacts capturing a century of films, shows, attractions, and characters.

The exhibition opened in Philadelphia in February 2023 and has since made stops in Munich, London, and Chicago. It is currently open in Kansas City and Seoul.

Family entertainment and its rise in touring is a key component of ILMC Touring Entertainment Live (TEL), which will return for its second edition on 26 February 2025 during ILMC 37. The one-day conference is dedicated to the global business of big-brand live entertainment, exhibitions, and touring family shows.

TEL brings together the world’s top show and exhibition producers, rights holders, venue operators, and promoters for a day revolving around this multibillion-dollar sector.

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Pitchfork Music Festival in Chicago, US, will not take place in 2025 after 19 years of operation.

The American music magazine confirmed that the long-running event won’t be returning next year in an official statement, citing the rapid evolution of the current music festival landscape.

“As the music festival landscape continues to evolve rapidly, we have made the difficult decision not to host Pitchfork Music Festival in Chicago in 2025,″ the statement read.

“This decision was not made lightly. For 19 years, Pitchfork Music Festival has been a celebration of music, art and community – a space where memories were made, voices were amplified and the shared love of music brought us all together.

“The festival, while aligned with the taste of the Pitchfork editorial team, has always been a collaborative effort, taking on a life of its own as a vital pillar of the Chicago arts scene. We are deeply grateful to the City of Chicago for being our Festival’s home for nearly two decades, to the artists who graced our stages with unforgettable performances, and to the fans who brought unmatched energy year after year.

“Thank you to At Pluto and the rest of the hardworking Festival team whose dedication and creativity were the backbone of every event, and to the broader community whose spirit and support made the Festival a truly unique experience. And thank you to Mike Reed for founding the Festival and your inspiring vision.

“Pitchfork will continue to produce events in 2025 and beyond”

The statement concluded: “Pitchfork will continue to produce events in 2025 and beyond. We look forward to continuing to create spaces where music, culture, and community intersect in uplifting ways – and we hope to see you there.”

The Pitchfork Music Festival has its origins in 2005’s Intonation Music Festival, which saw local promoters Skyline Chicago recruit Pitchfork Media to curate their inaugural event at Chicago’s Union Park. Though Intonation would return in 2006, Pitchfork Media split to create their own event under the Pitchfork Music Festival name.

Over the years, the festival has featured headliners including Animal Collective, Godspeed You! Black Emperor, Slint, Björk, Wilco, A Tribe Called Quest, the Isley Brothers, and more. This year’s event took place in July and featured Jamie xx, Alanis Morissette, and Black Pumas as headliners.

Pitchfork has also held international events in Paris between 2011 and 2022; in London from 2021 to 2023; Berlin in 2020 and 2022; and a lone event in Mexico City this year.

The news of the festival’s demise arrives months after parent company Condé Nast announced staff layoffs as the website was absorbed by another Condé title, men’s magazine GQ.

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Independent, female-driven US festival All Things Go is set to celebrate its 10th anniversary this September, with its organisers highlighting how curating a diverse event has paid off.

Speaking with IQ, co-founders Will Suter and Stephen Vallimarescu and brand partnerships and advocacy manager Carlie Webbert discuss the evolution of the DC-based festival. Launching in 2014 as the one-day All Things Go Fall Classic, organisers began curating female-led programming to highlight festivals’ gender imbalance in 2018, with that year’s edition curated by singers Maggie Rogers and LPX.

Since then, the festival has boasted a majority of female and non-binary performers, with the 28-29 September event to be led by Laufey, Bleachers, Hozier, Reneé Rapp, Janelle Monáe, Conan Gray, and Chappell Roan. It marks the third consecutive sellout for the indie event, with 40,000 fans to attend across two days. Last year, the late-summer event expanded from one day, with the 2023 edition headlined by Lana Del Rey, Maggie Rogers, boygenius, and Carly Rae Jepsen.

Gender-balanced festival lineups are rare, with 90% of headline performers being male across 50 European festivals, according to a study by IQ and ROSTR. Across complete lineups, only 35% of artists were female and 1% were non-binary. Attendees have lovingly received the event, dubbing it “Gay-Chella,” “All Things Gay,” and “Lesbopalooza”.

“Once you prioritise inclusion, your community will be stronger because you platform voices that usually don’t get the stage,” Webbert says.

Thirty-six artists will perform across multiple stages at ATG’s Maryland amphitheatre base, its biggest edition yet, including Maren Morris, Remi Wolf, Ethel Cain, and Julien Baker. Alongside the music programming, organisers will continue their one-night panel series, the Creator Summit, bringing together leaders in music, media, activism, and technology.

Here, the All Things Go organisers answer 10 questions in celebration of its 10th anniversary.

“Music is a powerful vessel for creating change”

This year marks your 10th anniversary. How are you planning to celebrate the accomplishment this year, and what are you proud to have accomplished over the past 10 years?

Will Suter: We’re celebrating our 10-year anniversary with our biggest lineup to date! We’ll have 36 artists performing over the two days at Merriweather Post Pavilion, in addition to a few surprises along the way. We’re proud to have created a robust community of music fans who circle ATG on their calendar every year and keep coming back — in addition to the new festival fans who might be experiencing the event for the first time.

This year’s edition takes place roughly one month before the presidential election in the capital. What plans do you have to intertwine social activism within the two-day schedule?

Carlie Webbert: Music is a powerful vessel for creating change. For the past few years, we’ve worked with advocacy organisations to ensure we do our part in platforming important causes. Last year we worked with Spotify EQUAL and The Ally Coalition to create a physical activism village on site with six non-profit organisations that were set up for fans to interact with. This year we’ll be working with Propeller, Calling All Crows, Headcount, Peta, Reverb, and more to drive awareness for those organisations along with raising funds. Ultimately, the advocacy arm of the festival will continue to grow and given how engaged the fans at ATG are, we are excited to see the impact that comes from it.

The cost of two-day general admission passes started at just under $200. With the cost of living and live music rising, how could you keep ticket prices down and why is it important to your team to keep the event affordable for different budgets?

Stephen Vallimarescu: Despite costs increasing substantially over the past few years, we strive to keep ticket prices as accessible as possible — and often lower than industry averages. As an independent music festival with a thriving community, we are constantly polling fans to understand what we can do to ensure a better fan experience, which includes affordable pricing and payment plans that start around $35.

All Things Go has openly called attention to putting women and non-binary individuals on the stage, but how is the organisation supporting and engaging those groups working in roles behind the scenes?

CW: Two of our longstanding partnerships are with Women in Music and Amplify Her Voice. These collaborations help us prioritise inclusion month after month. Women in Music supports us in organising the Creator Summit, a panel series held the night before our festival. This event highlights leading women in music, media, and technology. Through our partnership with Amplify Her Voice, we launched a program last year that provided hands-on backstage experiences to over 20 young women and at last year’s festival — an incredibly impactful opportunity for seeing first-hand what happens behind the scenes.

What’s the most memorable bit of feedback you’ve received in the 10 years of programming?

WS: In 10 years of programming, every year has brought new hurdles and new opportunities. We realised a few years into the festival that we need to really listen to and trust our fans. We take our post-festival fan survey very seriously and have launched a few iterations of an ATG fan club to really connect with those fans year-round. It’s ongoing feedback, year after year, on how we can improve our lineups in addition to the overall experience at the festival from the people who are buying the tickets.

“At the very least, ensure you book 50% female or non-binary acts — there is so much talent out there across genres”

Your planning process begins before the previous year’s edition takes place. Can you speak about keeping up with trends in your lineup curation process and how you are set to deliver your biggest offering yet?

WS: The planning process never really ends for the festival. We’re constantly discovering and listening to new music from emerging artists in addition to setting calendar milestones for established artists’ album releases, shows/tours and other festival appearances. The more we’re able to consume and monitor, the better — and it feels like there is more quality across music being released and live shows performed than ever before.

How would you describe the atmosphere of the festival to those who’ve never attended?

SV: The atmosphere at All Things Go is a reflection of our vibrant community, made up of both dedicated fans and boundary-pushing artists. It’s a unique and indescribable energy that covers the festival grounds. Most artists have commented on stage about the distinctiveness of All Things Go compared to other festivals. Our fans are united by a deep love for live music and a common ethos. We stand for something meaningful, and we strive to curate a festival experience that minimises scheduling conflicts and emphasises special moments that fans will remember forever.

In 2023, you hosted the first Creator Summit and brought together voices from the entertainment, music, political, and activism realms. Are there plans to continue this event, and can you highlight any major takeaways from last year?

CW: Yes! The Creator Summit is a significant part of our festival weekend, providing festival attendees with the ability to hear impactful voices from music, media and technology. The event provides a meaningful platform for engaging dialogue for our fans.

Your lineup has been female-driven since Maggie Rogers curated an all-female festival in 2018. Many festivals are still struggling to offer a diverse and balanced bill — what do you have to say to them?

CW: I would say, “Come on! The people want it!” We’ve sold out three years in a row, very fast, with a mostly female lineup. At the very least, ensure you book 50% female or non-binary acts — there is so much talent out there across genres. Once you prioritise inclusion your community will be stronger because you platform voices that usually don’t get the stage.

Describe how you’d like to see All Things Go evolve in the next 10 years.

SV: We aim to further support the next generation of artists and fans by championing their creativity not only through our annual festival but also through our expanding digital platforms. We’re allocating more and more resources to avenues such as newsletters, podcasts, and technology-driven initiatives. Our goal is to enable our community to connect and engage with each other seamlessly, regardless of where they live and beyond the festival weekend.

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German heavy metal festival Wacken Open Air is offering a novel form of payment for its pre-festival showcase, encouraging fans to “pay with your blood”.

From next Monday (11 March), individuals who donate blood to Essen University Hospital will receive free admission to the festival’s warm-up show. The gig, set for one day after World Blood Donor Day, will take place at the Turock nightclub in Essen, Germany.

“The goal of the World Blood Donor Day campaign on June 14th is to fill the empty blood banks, recruit new donors and ultimately save lives,” organisers said in a press release.

‘Fill empty blood banks, recruit new donors, and ultimately save lives’

This preliminary gig will showcase three acts — Celeste, Downfall of Gaia and Friisk — in an evening ‘dedicated to the extreme varieties of metal’.

The four-day festival has encouraged blood donation for over a decade, offering a free t-shirt in exchange for six recorded donations on the official W:O:A blood donor passport.

The 33rd edition of the metal festival, set for 31 July through 4 August, will be led by Scorpions, Korn and Amon Amarth.

Additional performers include Blind Guardian, In Extremo and Axel Rudi Pell. This year’s instalment sold out in record time, with fans snagging all 85,000 tickets in four-and-a-half hours.

Fans looking to pay for the warm-up show the conventional way can find tickets at Eventim and Metaltix.

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