How Britain became obsessed with festivals

In London, the Gala festival is underway with music and crowds enjoying the summer evening. This is one of the first of many music festivals happening across Britain. Other festivals are taking place at the same time in different parts of the country, offering music, drinks, and fun.

Over the last 20 years, music festivals have become a major part of British culture and a successful business. They are now a common experience for young people, a type of family holiday, and a boost for tourism. At a time when the country faces challenges, festivals show that Britain is still a leader in culture.

Glastonbury, a famous festival, is usually a big event in the British calendar, like Wimbledon or Strictly Come Dancing. When the writer was a teenager in the 1990s, festivals were mainly for specific groups like hippies and punks. Now, even members of the royal family attend them.

However, the growth of festivals has caused problems. There are concerns about the festival industry being unstable. Some lineups have been criticised for having too many male artists. There are also issues with big companies owning festivals and their investments, as well as people feeling that festival tickets are too expensive. Some cities are also struggling with agreements that allow festivals to use public parks, sometimes for long periods.

There's also a bigger reason to worry about Britain's festival boom. Some argue that our natural desires to enjoy ourselves, like dancing, singing, and socialising, are being used by businesses for profit. Critics suggest that large entertainment companies have put a high price on these experiences, offering limited value with less exciting lineups and commercial activities.

But whether you love them or are doubtful, it’s clear that Britain has become incredibly enthusiastic about festivals in the 21st century. The way festivals became so popular and commercialised is interesting. Early television coverage of festivals in the 1990s helped introduce them to a wider audience.

The rise of online streaming and how much time we spend on the internet has coincided with the growth of festivals and the ‘experience economy’. In the past, buying music albums was expensive. Now, streaming music is much cheaper or even free. This has encouraged people to seek out live experiences, like festivals, to connect with music more directly.

Festivals have also changed in terms of the music they offer. Thirty years ago, festivals like Reading mostly featured rock bands. Today, they include a wider range of artists like pop stars and rappers. The internet has mixed different music tastes together, making it easier for festival organisers to please larger and more varied crowds.

Unlike the past, when festivals could sometimes be chaotic with disturbances, UK festivals are now often designed for families. The development of 'boutique' festivals, which offer a more unique experience, allowed organisers to create events without directly competing with the biggest festivals. These newer festivals often include more than just music, adding comedy, talks on various subjects, and activities for children.

The festival scene has become very specialised, with events focusing on specific music genres like amapiano or disco, or even combining music with activities like trail running. Some large festivals are even supported by big companies like BP.

The influence of festivals is spreading beyond just the events themselves. The way we experience culture and social life is becoming more like a festival. This includes street food markets, political gatherings, and conventions. Even political events are sometimes described as festivals, attracting large crowds and speakers.

The fashion industry has also created a specific 'festival season'. Clothing retailers promote outfits for festivals that are often impractical but colourful and eye-catching. These outfits are meant for spending long days outdoors, often in unpredictable weather, and need to be stylish and comfortable.

Modern festivals, with their structured environment, ticket prices, and corporate sponsors, can sometimes feel less free. However, measuring festivals only by their potential for protest might be too narrow. For many, the main point of attending a festival is the experience of being there with others, enjoying the atmosphere, and socialising, rather than just seeing the performers.

Britain’s strong desire to gather together for celebrations is evident. Many festivals sell out before the lineup is even announced, showing a powerful urge to connect. This revival of collective gatherings, whether in fields or town squares, enriches our lives. It brings people together, continuing a tradition of shared joy that goes back centuries, even if it now involves paid tickets and corporate branding.