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I think this was caused by their terrible train wreck of a festival last year more so than the bubble bursting.
Sure, but also:
The ID&T festival’s parent company, SFX Entertainment, filed for Chapter 11 bankruptcy on Feb. 1 and is currently auctioning off its music streaming/download platform, Beatport.
I think this was caused by their terrible train wreck of a festival last year more so than the bubble bursting.
Sure, but also:
The ID&T festival’s parent company, SFX Entertainment, filed for Chapter 11 bankruptcy on Feb. 1 and is currently auctioning off its music streaming/download platform, Beatport.
I mean tickets still sold well last year, but didn't they have to refund or partially refund most of the people that attended? That along with the horrible press make it unsurprising that they'd at least take a year off.
Wanted to hit this up the first year, and heard the first two years were amazing from friends that built those massive stages, but damn, that shit last year, that is an epic clusterfuck.
I would have hopped the fence into the campgrounds and found some European babes to share a tent with, not pay $200 for an Uber after walking for 4 hrs.
It seemed like a cool-enough festival. My girlfriend went on a whim with my roommate for two days and saw KiNK, Patrick Topping, Claptone, Pete Tong, Guy Gerber, Maya Jane Coles, Hannah Wants, and some others for fairly cheap.
This cancellation definitely has to do with SFX going bankrupt.
EDM is changing, more so than "bursting." Like every other genre that gains prominence, the less original acts start to fizzle out while the more unique or notable artists remain. If the EDM bubble is bursting, how can Ultra, EDC Vegas, Electric Forest, and others still sell out at such a rapid rate?
In the interview, Farrell opened up about Perry Stage, the stage named after him when the festival re-launched in Chicago’s Grant Park back in 2005. The stage now characteristically features a lineup that is mostly EDM, with the occasional diverse artist.
“When they said they wanted to name a stage after me (when the festival relaunched in 2005), I was honored,” he says. “I like the adulation. But now you say, ‘Perry, what’s going on with your area here?’ Believe me, I’ve got questions myself. I hate EDM. I want to vomit it out of my nostrils. I can’t stand what it did to what I love, which is house music, which was meditative, psychedelic — it took you on a journey. … I sometimes cringe at my own festival.”
When the comments were relayed to Lollapalooza co-founder Marc Geiger, he wasn’t surprised at all, “Perry is right,” he says. “Commercial EDM has peaked, it sounds tired. … When you book 170 acts per festival and don’t want to repeat yourself, you run out of greatness and you start compromising.”
