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The First COVID-Era Music Festival Takes Place In Wisconsin This July [VIDEO]

Static-X is among a number of leading rock and metal bands scheduled to appear during the three-day outdoor music festival.

Coronavirus is still a problem. We shouldn’t have to say that, but every week, people everywhere express their desire to see life return to “normal.” The problem is, normal as we knew it is gone. Even if a vaccine is available in the next week or month, the world is changing, and there is nothing short of another ice age that can turn back the clock.

Some people are accepting of these changes. Others, however, are willing to fight tooth and nail to see regain a sense of control over their existence. People want to go out and see friends, eat at diners, and watch live music. They want to feel a sense of community that Zoom and Skype and other digital streaming platforms cannot duplicate.

Q & Z Expo Center in Ringle, Wisconsin, is ran by promoters who share the frustrations that many have with the current state of the world. They want events to return as well, and they’re doing their best to make that happen with a recently announced three-day event set to take place July 16-18. The so-called ‘mini-fest’ will feature performances from rock and metal bands, including Static-X, Dope, and Blacktop Mojo, to anyone willing to risk getting sick.

In the announcement of the gig, organizers wrote:

“As humans we NEED other human contact. MUSIC in itself is great, but the live streams as I am sure you all know is just not the same we need LIVE , feel it to the bones, run shivers up your spine MUSIC with people around us. Takes us all away on a trip that unless you have felt it you won’t understand.”

The event will host up to 2,000 music fans in a space that traditionally holds 10,000, which should allow for social distancing. Whether or not distancing will be required is not known, nor are any rules related to wearing masks.

In this Music Biz News update, host James Shotwell details the event, the plans to keep people safe, and how the world might not be as ready for live music as the festival organizers seem to believe.

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Industry News News

Wacken Open Air, Rock Am Ring, Rock Im Park, and Bang Your Head Festivals All Canceled

All large-scale public gatherings in Germany have been banned through at least August 31, which is leaving the rock world short on festivals.

Expect the unexpected. You have no doubt heard that phrase countless times throughout your life, but never has it been more true than right now. As the world attempts to understand and control the spread of COVID-19 there is no way to know what will happen next. Today’s hope can quickly disappear with tomorrow’s breaking news, but what matters most is that we never forget that this time will pass.

Today, the world of rock and metal took a major hit in the name of public safety. Germany’s chancellor, Angela Merkel, announced a plan to begin gradually reopening the country’s economy starting next week. Even in spite of the ambitious timeline she laid out, large-scale public gatherings like concerts and sporting events will remain banned through at least August 31, which renders festivals not just unlikely and dangerous for public health but illegal.

That news means arguably every major European rock festival will not happen in 2020, including Wacken Open Air, Rock Am Ring, Rock Im Park, and Bang Your Head. These events typically bring together well over 50,000 fans (and in some cases many more). Without them, jobs, merch sales, concessions, and performance fees will be depleted.

Writing to fans about the announcement, the organizers of Wacken shared:

Dear Metalheads,

yesterday, the German government decided that due to the Coronavirus pandemic, no mass gatherings will be allowed until August, 31st 2020. We are facing an unprecented situation in our 30 years: It is with heavy hearts that we have to announce that there will be no Wacken Open Air this year.

Our whole team has been working intensively on the festival these last months and the more all of us are bitterly disappointed that we are not allowed to celebrate a Wacken Open Air with you. This administrative order affects us heavily and we will need some time to process the bad news.

Nevertheless, we support the decision of the German government in this difficult situation for the whole world. Your health and safety have always been and always will be our top priority. We as promoters are therefore bound to take an even greater responsibility and have to follow the instructions of the experts.

Concerning Wacken Open Air 2021 and options for your already bought tickets we will reach out to you asap but ask for a little bit of patience whilst we work through this. We thank you for your trust during times which are unparalleled for all of us.

Stay healthy – In Metal We Trust!

Your W:O:A Team

The news of these cancellations is upsetting, but it’s become the new normal for music fans. Just a month ago, many believed live music would return in May. This week, festivals for July and August are being canceled, as well as several tours.

Nobody knows when concerts will resume. Many believe club gigs could return as early as mid-summer, but large scale events may have to wait until 2021. We are keeping an eye on this developing story to bring you as much information as possible in the weeks and months ahead. Follow Haulix on Facebook and Twitter for more information.

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Industry News News

Why Are Music Festivals so Expensive? [VIDEO]

Music festivals are nearly 50x more expensive than they were in the 1980s. What is driving the rising price of these events?

Music festivals are one of the most popular entertainment destinations in the world. Pick a genre, any genre, and you will find dozens of festivals looking to give fans access to the biggest stars of today. Some of these events have become internationally recognized, like Coachella, while others are considered ‘best-kept secrets’ that fans desperately want to keep below the radar. Whatever the case, the market for these events is booming, and that has caused a surge in pricing that seems unstoppable.

But how did we get here? Music festivals have been around for fifty years, but the cost to attend only began to skyrocket in the last decade. The number of artists performing is roughly the same as it always has been, as is the capacity of the event, so what happened?

Recently, The Economist took notice of the music festival market. The publication was so intrigued by the economics of festivals that it made a short documentary searching for the answer to every fans’ biggest question: Why do these events cost so much?

There is no easy answer because festivals are not simple businesses. Festivals build and dismantle a small town in a matter of days that is overrun with people from all walks of life who need food, water, bathroom facilities, and (usually) campgrounds. They also need to hire artists, each of which has demands and costs. There’s also the competition from other festivals to book popular artists, which only raises the costs of locking down great performers even higher.

But consumers may have hit their limit. Nearly every major festival saw a decline in attendance during the 2018 season. That kind of downturn is likely to shake investors and event producers worldwide. Festivals are big business, but unless people are willing to pay the high prices they demand the market will be unable to sustain a large number of events currently in existence.

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Music Biz 101: How To Promote A Festival Performance [Video]

Festival performances can change your career, but they can also be a waste of money. Marketing, or lack thereof, makes all the difference.

Every musician dreams of headlining a major music festival. The idea of performing for tens of thousands gathered to hear songs you developed is a career peak many artists spend a lifetime chasing. There is never a guarantee any amount of good songs and hard work will be enough, but that is no reason to not try in the first place.

For those musicians on the come up, festival performances often look very different from the one describe in the preceding paragraph. Most young artists lucky enough to land a festival time slot perform while the sun is high in the sky and the crowd is scattered. Some artists perform to only a handful of people, despite appearing at a festival whose headliners see a sea of people when they take the same stage hours later. It seems festival crowds, like every other audience in entertainment, are fickle.

But don’t fret! There are many things young musicians can do to maximize their return for performing at music festivals. What time a group or artist performs matters far less than how they promote the event, how they engage with festival attendees, and what they day in the weeks following the event. Don’t believe us? Just watch the video below.

On this episode of Music Biz 101, host James Shotwell explains the importance of festival appearances and what artists can do to maximize the exposure they receive for festival performances.

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Why Your Money Might Be Better Spent At Small Conferences & Festivals

The following post is the latest in an ongoing collaboration between Haulix and the fine folks at Muddy Paw PR.

It’s almost that time again. Time to fill Lancaster, PA with enthusiastic young minds, passionate musicians, and eager industry folk, all thrilled at the opportunity to hear some of the best and the brightest speak—with no idea that there’s also a powerful networking component that’s about to take place. Of course, I’m talking about this year’s Launch Music Conference, kicking off this Thursday-Sunday in Lancaster, PA. No, I don’t work for the festival—but I am a strong advocate for it and others like it—and I think you should be too.

I have a confession to make. Up until this time last year, I’d never been to an industry conference. For nearly six years I’d watched others flee to festivals like SXSW or NAMM, and I’d think “yeah that would be cool. But…” and it was never long before I could fill in the blank. Too expensive, too much time away, I don’t know anyone, etc. I chose to ignore for years what ended up being one of the best ways for me to network.

Now don’t get me wrong, I love larger conferences like SXSW. But it’s easy to love the majors—they’re filled with top-tier panelists, A-list musical talent, showcases galore, and everyone you know is bound to be there. It’s a breeding ground for inspiration and creativity—but so are the smaller conferences.

And let’s not forget that many of the major conferences are also expensive. Very, very, expensive.  And It’s crowded. And it’s easy to get overwhelmed and to feel a little in over your head. The panelists, though you may catch them right after their set, are not always easily accessible, and while you might bump into the people you meet here and there, there’s no sense of intimacy, because you’re sharing a few blocks of Austin with hundreds of thousands of people. There’s not as much time to truly get to know those around you, because you’re already rushing off to the next panel or show. There’s a constant sense of urgency, and a need to go, go, go.

Not so with a smaller conference. The panelists, though accomplished and esteemed, are also approachable and oftentimes, more open to collaboration than some of the major players at a larger conference. In fact, there is a sense of community that is practically built in. Everything feels so tightly knit, from the location of participating venues, to the panelists roaming the room after they speak. You’re more likely to form bonds with the 100-200 people that show up each morning to delve into the panels with you, than you might when you’re constantly bumping into strangers amidst an enormous conference. In those few days, you become a part of something. You have a real shot at making friends and making connections, based off the simple fact that you are in such close proximity to the same small group of people for 3 days straight. That bonding and sense of common ground are what relationships are built on. So before you turn your nose up at the smaller conferences, remember that while there’s a ton of value in the SXSW’s of the world, as a growing artist, you should be partnering with other growing artists, entrepreneurs, and yes, even festivals to forge relationships and grow together. It’s going to make all the difference.


Angela Mastrogiacomo is the founder and CEO of Muddy Paw PR, a public relations firm specializing in personalized campaign initiatives for independent artists, as well as music blog Infectious Magazine. She is also the curator of several chapters of the music community Balanced Breakfast, which currently operates in 12 music cities including San Francisco, Los Angeles, Austin, Nashville, Toronto, and Portland. She loves hanging out with her dog, eating ice cream, and a good book. Read more at https://angelamastrogiacomo.wordpress.com/

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If Music Festivals Were Honest With Their Marketing…

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