Festival Atlas 2015

Transcription

Festival Atlas 2015

Festival Atlas 2015
An overview and analysis of the music festival landscape
in The Netherlands in 2015
Harry van Vliet
MXStudio/Cross-media Research Group, Amsterdam University of Applied Sciences
Amsterdam, 2016
Contents
2 — Festival Atlas 2015
4
6
14
16
18
28
30
32
34
42
46
48
50
52
54
56
58
60
62
64
66
68
70
72
78
101
102
104
Introduction
I - Scope and Characteristics
New music festivals 2015
Existing music festivals 2015
II - Programming
Blues festivals 2015
Hardrock/Metal festivals 2015
Dance festivals 2015
III - Social Media
A – Z Music festivals 2015
IV - Factsheets by Province
Drenthe
Flevoland
Friesland
Gelderland
Groningen
Limburg
Noord-Brabant
Noord-Holland
Overijssel
Utrecht
Zeeland
Zuid-Holland
Maps of music festivals 2015
Methodology
Festival Atlas team
Festival information websites
Colophon
Introduction
The Festival Atlas 2015 gives an
overview and analysis of the Dutch
music festival landscape in 2015.
The sector is bustling, diverse and
attractive to many visitors – making
it an important cultural, social and
economic force in The Netherlands.
In other words, many reasons exist
for mapping out this landscape in
greater detail.
An Atlas
Edition Zero
Every year, the opening of festival season is widely
covered in the press with overviews of the most
popular festivals – and often come accompanied
with a map of The Netherlands marking the festival
locations. However, these maps only cover the tip
of the iceberg; the festival landscape is actually
much richer. But how rich is it? And if this richness
is charted out, do the assumptions related to the
developments and trends around festivals still hold
true? Such excellent research questions beg for
data. But while collections of data with information
around festivals already exist, these almost all serve
commercial goals and are not available as open
research data. Therefore, a research database was
set up that could collect all data related to festivals
– on which overviews and supported statements
could be made about the festival landscape. This
Festival Atlas 2015 is the first result of this research.
We regard this edition of the Festival Atlas as ‘Edition Zero’ – mainly because of all its evident shortcomings. This edition only covers music festivals,
and does not even include jazz and classical music
festivals (see Methodology). We also need to stress
that the 900+ identified music festivals remains an
underestimate of realities. The data set is only a
sample – albeit a comprehensive one – and not a
description of the complete population. The number of found music festivals can be put in perspective by knowing, for example, that the number of
organised Dance parties is many times that of the
number of music festivals. By including them, you
will quickly arrive at thousands of music festivals/
music parties per year in The Netherlands.
Use
The overview and analysis of the festival landscape
can help students better understand the current
situation, and the relationships that exist, for example, between the ‘where’, the ‘when’ and the ‘what’
of the festivals taking place. Such information is
not only of interest for students of event management and event marketing, but also those studying
leisure, hospitality, cross-media, media, marketing
and (commercial) economy. For professionals
working in, or involved with, the event and festival
sector, the atlas can function as a reference. For
example, when you are positioning your own festival in the landscape, or need strongly supported
statements on the sector’s working principles. The
data presented in this atlas is also meant to challenge researchers to make their own connections
on which to base further interpretations on the
landscape’s composition and development. And
such interpretations should not only be based
on the quantitative data. For instance, the many
included festival posters from 2015 beg for an
analysis from other research areas, such as visual
storytelling, semiotics and social identification.
Our ambitions have only been awakened in making this edition – which provides another reason
for calling this ‘Edition Zero’. This edition represents
only a fraction of what is possible and therefore
reflects only a fraction of our ambitions. By including more types of festivals (film festivals, literary
festivals, etc.), more types of data (ticket data,
sponsoring information, reviews, etc.) and more
historical data, a fuller overview would be made
possible – along with the possibility for more, and
deeper, analysis. Via the website www.festivalatlas.
nl and future editions, we hope to (gradually) expand on these challenges.
As conclusion, we are very curious about your
reactions to ‘Edition Zero’. You can also regard this
publication as an open call for the sharing of data
and information – so we can provide the festival
sector with better, more complete and more
sophisticated atlases in the years to come.
Introduction — 5
I - Scope and Characteristics
How many music festivals took
place in 2015? How are these
festivals spread out over the year?
What proportion of festivals has
free admission? Are there more
one-day festivals than multi-day
festivals? How many music festivals
were cancelled in 2015? How many
new music festivals appeared in
2015 – and did most of these charge
admission?
The festival season
In 2015, The Netherlands had 924 music festivals
that together provided 968 music festival editions.
These music festivals have a clear seasonal pattern:
almost three-quarters took place during the summer period in the months May through September.
On a variety of days in 2015, 20 or more music festivals took place on the same day. On the five days
with the most music festivals, 14% of all the music
festivals in 2015 took place.
The music festivals also have a clear geographical
pattern. The three provinces with the most music
festivals were Noord-Holland, Noord-Brabant and
Zuid-Holland, which together accounted for 55%
of all music festivals. The busiest cities were Amsterdam, Rotterdam and Eindhoven. Together with
Utrecht and Groningen, these five cities accounted
for 30% of all music festivals.
The largest proportion of music festivals is annually
returning festivals, some of which had multiple
editions in 2015. A sizeable proportion of the music
festivals in 2015 is relatively young: 366 festivals, or
39%, have had three editions or less. A third (32%)
of the music festivals have had 10 editions or more.
This ‘old guard’ has their origins in the period of the
late 1960s to 2005.
multi-day music festivals over the months strongly
resembles the overall division of music festivals
over the months. Therefore here, we can also not
speak of specific seasonal influences. The pattern
of one-day festival and multi-day festivals when
related to the provinces shows an erratic pattern.
The provinces Noord-Holland and Utrecht have
relatively more one-day festivals, while the provinces Noord-Brabant, Limburg, Friesland, Groningen,
Zeeland, Flevoland and Drenthe have relatively
more multi-day festivals (see IV).
New and cancelled music festivals
In 2015, a total of 127 new music festivals took
place, representing 14% of the total offering of
924 festivals. These involved 130 festival editions.
The vast majority (88%) took place in the summer
period of May through September. The distribution
of the new festivals over the months correlates
strongly with the distribution of existing festivals,
and follow the same seasonal pattern. Most
new music festivals (65%) also took place in the
provinces with the most festivals: Noord-Holland,
Noord-Brabant and Zuid-Holland. In other words,
most new music festivals took place during the
busiest months in the busiest provinces. New
music festivals are, however, more likely to be paid
rather than free festivals, and also more likely to be
one-day rather than multi-day festivals.
Some characteristics of music festivals
Over three-quarters (77%) of the music festivals
in 2015 was paid festivals. The pattern of free and
paid music festivals over the months strongly
resembles the overall distribution of music festivals
over the months. Therefore, no specific seasonal
influences exist to account for the ratio between
free and paid festivals. Also, no clear relationship
was found between the proportion of paid/free
and the provinces. Most provinces have a ratio
around 75% - 25% (see IV).
In 2015, a total of 45 music festivals were cancelled
– about 5% of the total of 968 festival editions. In
almost all cases, these music festivals were meant
to take place in the summer. Cancelled music
festivals were often paid one-day music festivals.
Over half (52%) of the cancelled music festivals
were young festivals existing no longer than three
editions. A fifth of the cancelled music festivals in
2015 involved a new music festival.
A large majority (73%) of music festivals in 2015
was one-day festivals. The multi-day festivals are
concentrated in the typical festival months of May
through September. The pattern of one-day and
Scope and Characteristics — 7
Number of music festivals in 2015 by month
142
Busiest days in 2015
143
132
131
117
80
36
30
26
23
Jan
29
30
28
28
27
August
27
55
34
5
September
May
5
4
April
May
July
27
24
23
n=949
Feb
Mar
Apr
May June July
Aug
Sep
Oct
Nov
Dec n=949
Year of first edition of music festivals in 2015
Best Kept Secret
140
120
100
80
Le Guess Who?
60
DeBeschaving
40
Pinkpop
Zomerpop
Zwarte Cross
Parkpop
20
0
< 1970 1972 1975 1978 1981 1984 1987 1990 1993 1996 1999 2002 2005 2008 2011 2014
n=958
Number of music festivals in 2015 by province
Noord-Holland
Cities with the most music festivals
in 2015
232
Noord-Brabant
Rotterdam
168
Zuid-Holland
135
Gelderland
74
Limburg
73
Overijssel
73
Utrecht
43
Groningen
43
51
123
43
Groningen
Eindhoven
69
Friesland
Utrecht
Amsterdam
Den Haag
38
21
27
n=965
Zeeland
26
Flevoland
16
Drenthe
16
n=968
Percentage of music festivals in 2015 by
edition
Percentage music festivals in 2015 by
frequency type
1+92+70G 14+25+111832G
7%
1%
14%
32%
25%
18%
92%
One-off
Annually
11%
n=968
Several times a year
Irregular
New
2-3
4-5
6-10
n=958
> 10
Number of paid and free music festivals in 2015 by month
39
37
22
110
96
94
90
29
22
23%
6
60
1
77%
88
18
5
free
43
€€€
28
Paid vs. free admission
46
1
n=933
5
6
31
27
20
Jan
Feb
Mar
Apr
May June July
Aug
Sep
Oct
Number of paid and free music festivals in 2015
by province
Noord-Holland
190
Noord-Brabant
127
Zuid-Holland
91
42
38
Nov
Dec
Percentage of paid and free music festivals in
2015 by province
40
Noord-Holland
Gelderland
Limburg
50 20
Limburg
55
11
32
68
24
76
29
71
Overijssel
42 23
35
65
Utrecht
17
23
77
Zuid-Holland
54 17
Utrecht
83
Noord-Brabant
Gelderland
Overijssel
n=924
83
17
Friesland
35
5
Friesland
88
12
Groningen
36
5
Groningen
88
12
Zeeland
17 4
Flevoland
Drenthe
Zeeland
14 2
8
7
Flevoland
n=933
Drenthe
19
81
88
53
12
47
n=933
Number of 1-day and multi-day music festivals in 2015 by month
45
1-day vs. multi-day festivals
41
23
38
1
44
>1
day
days
109
97
102
73%
93
21
27%
73
n=949
59
4
4
30
19
Jan
Feb
19
6
36
8
3
28
24
Mar
Apr
May June July
Aug
Sep
Oct
Number of 1-day and multi-day music festivals in
2015 by province
Noord-Holland
192
Noord-Brabant
58
108
n=949
Percentage of 1-day and multi-day music festivals
in 2015 by province
Noord-Holland
Noord-Brabant
83
17
35
65
27
52 20
Gelderland
72
28
28
Limburg
55 16
Overijssel
42
Overijssel
Dec
73
96
Limburg
Nov
Zuid-Holland
Zuid-Holland
Gelderland
39
23
Utrecht
57
10
36
40
60
23
77
Utrecht
85
15
Friesland
28 15
Friesland
65
35
Groningen
27 14
Groningen
66
34
Zeeland
67
33
Zeeland
16
Flevoland
10 6
Drenthe
10 6
8
n=949
Flevoland
63
37
Drenthe
63
37
n=949
free
€€€
Number of new music festivals in 2015 by month
89%
11%
25
21
n=126
21
16
12
3
2
Jan
Feb
11
6
6
4
Mar
Apr
May June July
Aug
Sep
Oct
Nov
1
Dec
Number of new music festivals in 2015 by province
Noord-Holland
23
Zuid-Holland
19
Gelderland
1
day
>1
days
7
Limburg
87%
5
Overijssel
8
Utrecht
4
Groningen
7
2
Flevoland 1
2
13%
n=128
10
Friesland
Drenthe
1-day vs. multi-day festivals
42
Noord-Brabant
Zeeland
n=128
n=130
free
€€€
Number of cancelled music festivals in 2015 by month
85%
15%
n=33
6
1
Jan
Feb
Mar
Apr
8
3
May June July
5
Aug
Sep
Number of cancelled music festivals in 2015 by
province
Noord-Holland
6
Noord-Brabant
4
7
3
Limburg
4
Overijssel
5
Utrecht
7
Friesland
Groningen
3
Zeeland
3
Nov
Dec
n=27
Percentage of cancelled music festivals
in 2015 by edition
21+31+71724G
21%
17%
31%
7%
New
2-3
Flevoland 1
Drenthe 1
Oct
24%
Zuid-Holland
Gelderland
1
3
n=42
4-5
6-10
> 10
n=44
IIIIIProgramming
Social Media
Programming
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Country of origin
Many artists and bands perform during music
festivals. In cooperation with www.festivalinfo.
nl, we determined the programming of 581 of
the researched music festivals. In total, this consisted of 13 403 performances, with an average
of 20 performances per festival. The number of
performances per festival varies greatly, ranging
from only five performances to over 100. Of these
performances, the land of origin was registered for
7996 bands. These bands came from 59 different
countries. The large majority were artists/bands
from The Netherlands with 68%. The UK followed
with 8% and the rest of Europe totalled 13%, of
which a large majority came from Belgium and
Germany. The USA provided 7% of the bands for
Dutch music festivals in 2015.
The proportion of Dutch artists/bands varies per
festival characteristic. For instance, the proportion
of Dutch artists/bands is higher at free musical
festivals than at paid ones. The proportion is also
higher at one-day festivals than at multi-day festivals. While the proportion of Dutch bands/artists
also differs per month, no specific pattern could be
determined. For example, in the summer months
when many foreign bands are touring festivals, it
is not true that the number of Dutch bands/artists
is notably lower. In fact, the months with the least
proportion of Dutch bands/artists are the months
October through January, with a sudden rise in
February and March. The division over provinces
also shows an erratic pattern: with the busiest
province Noord-Holland not showing a significantly different division of countries of origin than a less
busy province such as Utrecht. The most extreme
division can be found with the two least busy
provinces: Flevoland has the smallest proportion of
Dutch artists/bands, while Drenthe has the largest
proportion.
Innovation in programming
Programming is an important way for music festivals to attract a public and to differentiate themselves from each other. At the same time, festivals
are commonly criticised for becoming ever more
similar – often referred to as McFestivalisation. A
comparison between Pinkpop and Lowland shows
that such statements can easily be tested. By comparing the programming of Pinkpop and Lowlands
over the years 1993 through 2015, it became apparent that some overlap exists in the way Pinkpop
‘borrows’ bands from Lowlands over the two years
following a Lowlands edition. In other words, if you
missed Lowlands one year, you can just go to Pinkpop the following year. As a ‘trendsetter’, Lowlands
does not go much further. From the innovation
index that shows how little bands are repeated
in a festival’s programme (with a score of 1 when
each edition has a completely new line-up), the
difference between Pinkpop and Lowlands is not
substantial. Several newer music festivals are in fact
much more ‘innovative’ – but, of course, this may
have to do with the limited time they have been
around. A mapping of festivals shows a cluster of
festivals having similar line-ups, but also many festivals that revolve around this core as if representing
a galaxy being formed. Further analysis needs to
determine which clusters are stable and if there is a
valid argument to be made about the McFestivalisation of Dutch music festivals.
Genres
Music festivals adopt over 280 different genre
terms to typify their festival – sometimes using
dozens per festival. These genres range from
known genres such as rock, house and pop, to
more obscure designations such as neurofunk,
deathcore and nedertronica. In total, 10 418 references to genres were found on music festival
websites (data taken from hugo.events). The most
commonly used genre terms are dance, house,
rock, pop, techno and electro, which together
account for an ample 45% of all references found
on festival websites. Genre terms that appear rarely
but still account for more than 1% of the total references include terror, dancehall, acid, breakbeat
and salsa.
Programming — 19
Land of origin of bands performing at Dutch music festivals in 2015
n=7996
Programming — 21
Percentage of land of origin of bands at
free and paid music festivals in 2015
Percentage of land of origin of bands at 1-day
and multi-day music festivals in 2015
1
3
8
3
4
7
15
3
5
4
8
11
17
5
9
11
85
76
60
65
Paid
1-day
Free
NL
UK
Rest of Europe
Percentage of land of origin of bands at music
festivals in 2015 by month
jan
feb
Percentage of land of origin of bands at music festivals in 2015 by province
mrt
65
80
Gelderland
70
Limburg
69
juli
70
Utrecht
aug
70
Friesland
81
69
61
Groningen
65
okt
55
Zeeland
nov
56
Flevoland
dec
76
Overijssel
65
sep
63
Zuid-Holland
76
mei
67
Noord-Brabant
84
juni
Other
Noord-Holland
57
apr
USA
multi-day
63
77
56
Drenthe
38
94
n=7850
NL
UK
n=7850
Rest of Europe
USA
Other
2015
2014
2013
2012
2011
2010
2009
2008
2007
2006
2005
2004
2003
2002
2001
2000
1999
1998
1997
1996
1995
1994
1993
1993
1994
1995
1996
1997
1998
1999
2000
2001
2002
2003
2004
2005
2006
2007
2008
2009
2010
2011
2012
2013
2014
2015
LowLands
Overlap in programming of Lowlands and Pinkpop in the period 1993 – 2015
(the darker the more overlap)
Pinkpop
b+65+549081100+98
Innovation index 6 music festivals up to and including 2015
0.98
0.65
1
0.54
0.81
Lowlands
Pinkpop
Best Kept Secret
Bastard Fest
Woo Hah! Festival
Down the Rabbit Hole
0.9
Programming — 23
Mutual distances of the programming of 581 music festivals
0.10
0.00
-0.10
-0.10
0.00
0.10
0.20
Programming — 25
Genre terms used by music festivals
> 90%
> 50%
> 25%
> 10%
> 5%
> 4%
> 3%
> 2%
>1
n=10418
Data provided by hugo.events
Programming — 27
III Social Media
Social media offers an obvious
opportunity for music festivals
to stimulate mouth-to-mouth
advertising, and thereby involving
visitors with the festival. But what
social media platforms do music
festivals use? How do visitors react?
And what differences exist between
the different music festivals?
Music festivals and social media
Of the 12 social media platforms that were studied,
an obvious top three are used by music festivals:
Facebook (73%), Twitter (57%) and YouTube (39%).
Instagram remains bubbling under with 20%. Other
platforms were used very little or to a limited
degree. This is particularly notable for platforms
that specifically focus on music, such as music
streaming services (Spotify, Soundcloud, last.fm
and Deezer) and community platforms (MySpace).
The average number of Facebook ‘likes’ on a music
festival page is 14 275, but a vast range exists. A
small group of music festivals (around 15%) score
above this average, with some extreme cases
ranging from hundreds of thousands of likes to
over a million of likes (such as the festival A State
of Trance). Most music festivals (84%) are under
the average, with 17% scoring less than a thousand
likes. A similar pattern exists with Twitter followers
and YouTube views. The average number of Twitter
followers is 1974, with 75% of the music festivals
actually scoring lower, and 2% having over 10 000
followers. With YouTube, the average is almost
784.000 views (!). This average is caused by a
small group of music festivals (3%) that score over
one million views, with even more extreme cases
scoring between 117 million views (Qapital) and
185 million views (Liquicity Festival). Of the music
festivals, 89% do not get above 100 000 YouTube
views. Significant correlations exist with music
festivals between the number of Facebook likes,
Twitter followers and YouTube views.
More differences between music festivals
Music festivals also have other differences when it
comes to social media. Paid music festivals score
better than free festivals when it comes to likes,
followers and views. This may have to do with the
budget that paid festivals spend on marketing and
communication. Multi-day festivals score better
than one-day festivals when it comes to likes and
followers, but not when it comes to YouTube
views. On average, one-day festivals actually score
better with YouTube views. This may have to do
with the number of one-day festivals that generate
an extreme amount of views. New music festivals
score significantly more than existing music festivals when it comes to likes, followers and views.
However, this effect is not apparent when we
compare ‘young’ festivals (less than four editions)
with ‘old’ festivals (over 10 editions): these barely
show any differences in the number of likes and
followers; however, with the number of YouTube
views, younger festivals score higher than older
festivals. A limited analysis (of 71 festivals) of the
effect of genre shows that visitors of dance music
festivals do a lot more on social media than visitors
of blues and metal music festivals. These differences are absolute differences, and has not been
adjusted to the visitor numbers since that data is
currently not available.
Livestreaming music festivals
Livestreaming has become popular via apps such
as Meerkat and Periscope, which allow anyone
with a mobile phone to ‘broadcast’. It may look like
an obvious way for music festivals to share with
others, but it’s also seen with great fear by some
festival organisers. The use of livestreaming at
music festivals was very limited in 2015 if judged by
the use of the Meerkat app. Of the top ten international music festivals, only SXSW springs out with
almost 400 ‘broadcasts’ and 500+ viewers. Large
music festivals such as Glastonbury and Roskilde
only did a handful of livestreams with only a few
hundred viewers. In The Netherlands only Pinkpop
pops out with 23 Meerkat streams and 500+
viewers (3 200). With the nine other Dutch music
festivals that were studied, few or no Meerkat livestreams were used.
Social Media — 35
Percentage of music festivals in 2015 who used social media platforms
73
57
39
1
1
1
last.fm
Deezer
0,5
MySpace
1
Pinterest
4
Tumblr
4
Google+
Spotify
Instagram
YouTube
Twitter
Facebook
6
SoundCloud
20
n=852
Use of Meerkat Live Streaming at music festivals in 2015 worldwide and in the Netherlands (views and
streams)
5
ADE
4
Pinkpop
10
Parkpop
Exit
0
Life I Live Festival
Fuji Rock
0
Zwarte Cross
391
Lowlands
0
TT Festival Assen
0
2
Big Rivers
0
0
Appelpop
0
3
Defqon 1
0
314
Glastonbury
Roskilde
Werchter
335
26
500+
SXSW
Sziget
Lollapalooza
213
Off festival
Sonar
319
1
5
500+
46
23
1
0
24
5
1
1
Percentage of music festivals by number of Facebook Top 5 music festivals with the most Facebook
likes
likes
1+15+421725G
3+22+5025G
3+8+16948G
1%
25%
15%
17%
42%
> 1 million
> 100 thousand
> 10 thousand
> 1 thousand
>0
=0
n=647
Percentage of music festivals by number of Twitter
followers
3%
25%
> 1 million
> 100 thousand
> 10 thousand
> 1 thousand
>0
=0
a
A State of Trance
Qapital
Amsterdam Dance Event
Sensation
Pinkpop
244.930
106.069
76.771
62.348
57.879
n=647
Percentage of music festivals by number of YouTube
views
Top 5 music festivals with the most YouTube
views
8%
16%
48%
16%
9%
Top 5 music festivals with the most Twitter
followers
22%
50%
3%
b
A State of Trance
1.085.662
Sensation
922.604
Qapital
555.262
Mysteryland
454.466
Amsterdam Dance Event432.478
> 1 million
> 100 thousand
> 10 thousand
> 1 thousand
>0
=0
r
Liquicity Festival
185.830.238
Qapital
117.329.695
Sensation
48.423.275
A State of Trance
45.894.936
Lowlands
18.728.915
n=647
Social Media — 37
Average social media use of paid vs. free music festivals
14,8
2,4
2
3,3
b
Average number of views (x million)
Average number of followers (x 1000)
Average number of likes (x 1000)
18,4
1,1
0,8
0,8
0,1
Total
Paid
Free
a
Total
Paid
Free
r
Total
Paid
Free
n=620
Average social media use of 1-day vs. multi-day music festivals
15,6
14,3
3,3
2,3
1,8
18,1
1,1
0,8
0,2
b
Total
1 day
> 1 day
a
Total
1 day
> 1 day
r
Total
1 day
> 1 day
n=630
Average social media use of new versus existing music festivals
13,6
3,9
2,3
1,7
14,3
3,3
20,2
0,8
0,5
b
Total
New
Existing
a
Total
New
Existing
r
Total
New
Existing
n=646
Average social media use by young (< 4 editions) versus old (> 10 editions) music festivals
b
Total
16,5
15,4
Young
Old
a
2,4
Total
2,4
Young
2,4
Old
15,9
1,8
r
1,1
0,4
Total
Young
Old
n=435
Social Media — 39
Average social media use of music festivals by genre
5,9
90
1,8
b
Dance
Blues
12,4
5,2
a
Metal
Dance
0,4
0,5
Blues
Metal
r
Dance
0,02
0,01
Blues
Metal
n=71
Average social media use of music festivals by month
90000
80000
70000
60000
50000
40000
30000
20000
10000
Jan
Feb
Mar
Facebook Likes
Apr
May
June
July
Twitter Followers
Aug
Sep
Oct
Nov
Dec
n=630
YouTube Views (x100)
Average number of Facebook likes of music festivals by province
24985
21276
14275
8435
6728
5782
4753
NH
NB
ZH
GE
LI
5857
4668
OV
UT
FR
3320
3819
GR
ZE
2040
FL
DR
n=647
Average number of Twitter followers of music festivals by province
4748
3242
2176
1315
NH
774
738
NB
ZH
1360
1099
793
655
GE
LI
OV
UT
FR
GR
654
ZE
484
FL
DR
n=647
Average number of YouTube views of music festivals by province
2724
1874
1109
381
NH
NB
38
74
45
85
ZH
GE
LI
OV
UT
36
12
FR
GR
103
ZE
2
FL
DR
n=647
Social Media — 41
IV - Factsheets by Province
The music festival landscape has
peaks and valleys: not only across
the months of the year but also
across the different provinces
and cities where music festivals
take place. Each province has its
own music festival profile – which
becomes more apparent in the
factsheets by province.
Diffusion of festivals
Provinces show significant differences in the number of festivals they held in 2015. Noord-Holland
is the absolute leader, accounting for almost a
quarter (24%) of all festivals. Noord-Brabant and
Zuid-Holland follow in second and third place.
Together, these three provinces account for 55% of
all the music festivals. The provinces Flevoland and
Drenthe have the least number of music festivals
– not even reaching 10% of the number organised
in Noord-Holland. The diffusion of festivals within
a province follows a whole other pattern, with an
inverse relationship between the province’s number of music festivals and the diffusion of these
festivals in places across that province: the more
music festivals in a province, the more concentrated these festivals are as to where they take place;
or the less music festivals in a province, the more
distributed they are across the province. For example, the diffusion index (see Methodology) of the
province Zeeland is 0.84, which means that almost
every festival took place in a different location.
Meanwhile, the diffusion index of Noord-Holland
is only 0.22. This can perhaps be partly accounted for by the magnetic pull of big cities such as
Amsterdam in Noord-Holland, and cities in other
provinces such as Rotterdam, Eindhoven, Utrecht
and Groningen.
Some characteristics of music festivals by
province
The average proportion between paid and free music festivals lies around 75% - 25% for all provinces.
Relatively-speaking, the provinces Zuid-Holland,
Overijssel and Drenthe have slightly more free
festivals, while the provinces Friesland, Groningen
and Flevoland have slightly more paid festivals. But
these differences are not significant. There exists
even a significant positive correlation between paid
and free music festivals across the provinces: the
more of one, the more of the other.
correlation. The provinces Noord-Holland and
Utrecht have relatively more one-day festivals,
while the provinces Noord-Brabant, Limburg, Friesland, Groningen, Zeeland, Flevoland and Drenthe
have relatively more multi-day festivals. This last
group of provinces are mostly ones with fewer
festivals anyway, whereby it seems that while these
provinces perhaps organise less festivals, they do
organise relatively more multi-day ones. However,
Noord-Brabant does not fit into this overall pattern
(relatively more music festivals, relatively less oneday festivals), and neither does the province
Utrecht (relatively less music festivals, relatively
more one-day festivals).
New and cancelled music festivals, by
province
The absolute number of new music festivals clearly
differs by province. The three provinces with the
most music festivals also had the most new music
festivals in 2015: Noord-Holland, Noord-Brabant
and Zuid-Holland. If we look at the relative proportion of new music festivals, then Noord-Holland
(18%) and Groningen (17%) score above the national average (14%); and the provinces Friesland
(9%), Zeeland (8%), Limburg (7%) and Flevoland (6%)
score below the national average. Also in the distribution of a music festival’s ‘age’, obvious differences are seen between provinces. Zeeland (54%)
and Drenthe (53%) have significantly more music
festivals that have had 10 or more editions, relative
to the national average (32%); while Noord-Holland
(24%) and Utrecht (23%) are significantly under the
national average.
Cancelled music festivals do not occur relatively
more often in the busier provinces; in provinces
such as Utrecht, Overijssel and Limburg music
festivals are also cancelled whereby the (small)
number does not rival the number of cancellations
in busy provinces such as Noord-Holland and
Zuid-Holland.
The relationship between one-day and multi-day
music festivals over the different provinces shows a
less clear pattern, but still has a significant positive
Factsheets by Province — 47
Drenthe
Busiest places
Most festivals (16)
New festivals (2)
11
10
Cancelled festivals (1)
Diffusion index (0,63)
10
2
Busiest day: 11 September (3).
Number of music festivals in 2015 in Drenthe by month (16)
1
Jan
1
Feb
Mar
Apr
2
3
May
June
July
4
5
Aug
Sep
Oct
Nov
Dec
n=16
frequency type in Drenthe
Percentage of music festivals in 2015 by edition
in Drenthe
0+94+60G 13+13+754G
6%
13%
One-off
Annually
Several times
a year
Irregular
94%
n=16
54%
13%
7%
13%
New
2-3
4-5
6-10
>10
n=15
Number of paid (purple) and free (orange) music festivals in 2015 in Drenthe by month
1
1
Jan
Feb
Mar
Apr
2-1
1-1
May
June
1-2
2
3
July
Aug
Sep
Oct
Nov
Dec
n=15
Number of 1-day (purple) and multi-day (orange) music festivals in 2015 in Drenthe by month
Feb
Mar
free
€€€
Apr
3
May
June
1-day vs. multi-day
festivals
1
day
1
1-1
>1
days
4-1
3
July
Aug
Sep
Paid vs. free admission - New
free
Jan
1
€€€
1
Oct
Nov
Dec
n=16
1-day vs. multi-day
festivals - New
1
day
>1
days
53% 47%
63% 37%
50% 50%
50% 50%
n=15
n=16
n=2
n=2
Flevoland
Busiest places
Most festivals (16)
New festivals (1)
11
12
10
7
Busiest days: 19 June, 4 July (2).
Number of music festivals in 2015 in Flevoland by month (16)
Jan
2
1
Feb
Mar
2
Apr
May
4
3
3
June
July
Aug
1
Sep
Oct
Nov
Dec
n=16
frequency type in Flevoland
in Flevoland
0+87+130G 6+6+251944G
6%
13%
One-off
Annually
Several times
a year
Irregular
87%
n=16
6%
44%
25%
19%
New
2-3
4-5
6-10
>10
n=16
Number of paid (purple) and free (orange) music festivals in 2015 in Flevoland by month
Jan
2
1
Feb
Mar
1-1
Apr
May
1-2
4
3
June
July
Aug
1
Sep
Oct
Nov
Dec
n=16
Number of 1-day (purple) and multi-day (orange) music festivals in 2015 in Flevoland by month
Feb
Mar
free
€€€
2-2
2
Apr
May
June
1-day vs. multi-day
festivals
1
day
2-1
1
3
>1
days
87% 13%
63% 37%
n=16
n=16
July
Aug
Sep
free
1
€€€
Jan
1-1
100% 0%
n=1
Oct
Nov
Dec
n=16
1-day vs. multi-day
festivals - New
1
day
>1
days
100% 0%
n=1
Friesland
Busiest places
Most festivals (43)
New festivals (4)
8
9
12
4
Busiest day: 14 May (4).
Number of music festivals in 2015 in Friesland by month (43)
10
Jan
2
1
1
Feb
Mar
Apr
9
6
3
May
June
July
Aug
8
Sep
1
1
1
Oct
Nov
Dec
n=43
frequency type in Friesland
in Friesland
0+100+0G 9+28+141633G
100%
9%
One-off
Annually
Several times
a year
Irregular
n=43
33%
28%
16%
14%
New
2-3
4-5
6-10
>10
n=43
Number of paid (purple) and free (orange) music festivals in 2015 in Friesland by month
1
Jan
1
8
2
1
1
Feb
Mar
Apr
May
1
1-2
7
6
6
1
1
1
June
July
Aug
Sep
Oct
Nov
Dec
n=40
Number of 1-day (purple) and multi-day (orange) music festivals in 2015 in Friesland by month
2
1
Feb
Mar
Apr
free
€€€
2-1
May
June
1-day vs. multi-day
festivals
1
day
>1
days
6
2
3
4
3
5
1
1
1
July
Aug
Sep
Oct
Nov
Dec
free
1
€€€
Jan
8
2
n=43
1-day vs. multi-day
festivals - New
1
day
>1
days
87% 13%
65% 35%
75% 25%
75% 25%
n=40
n=43
n=4
n=4
Gelderland
Busiest places
Most festivals (74)
New festivals (7)
4
6
7
5
Busiest day: 6 June (4).
Number of music festivals in 2015 in Gelderland by month (74)
13
9
4
Jan
Feb
11
2
Mar
Apr
May
June
11
8
July
Aug
5
4
Sep
Oct
2
Nov
3
Dec
n=72
frequency type in Gelderland
in Gelderland
1+92+70G 10+24+151437G
7% 1%
10%
One-off
Annually
Several times
a year
Irregular
92%
n=74
24%
37%
14%
15%
New
2-3
4-5
6-10
>10
n=72
Number of paid (purple) and free (orange) music festivals in 2015 in Gelderland by month
2
1
3
Jan
Feb
2
7
Mar
Apr
4
11
9
3
8
2
5
May
June
3-2
4
July
Aug
Sep
Oct
2
2-1
Nov
Dec
n=71
Number of 1-day (purple) and multi-day (orange) music festivals in 2015 in Gelderland by month
1
Jan
Feb
Mar
Apr
free
€€€
3
8
day
6
3
May
June
1-day vs. multi-day
festivals
1
5
5
>1
days
76% 24%
72% 28%
n=71
n=72
July
Aug
1
2
4
4
Sep
Oct
€€€
3
2
4
5
free
12
1
100% 0%
n=6
Nov
3
Dec
n=72
1-day vs. multi-day
festivals - New
1
day
>1
days
67% 32%
n=6
Groningen
Busiest places
Most festivals (43)
New festivals (7)
9
6
7
9
Busiest day: 5 September (3).
Number of music festivals in 2015 in Groningen by month (43)
10
1
2
1
5
6
Jan
Feb
Mar
Apr
May
3
June
6
4
3
July
Aug
Sep
Oct
Nov
Dec
n=41
frequency type in Groningen
in Groningen
0+95+50G 17+19+1728G
5%
28%
17%
One-off
Annually
Several times
a year
Irregular
19%
New
2-3
4-5
6-10
>10
17%
95%
n=43
19%
n=42
Number of paid (purple) and free (orange) music festivals in 2015 in Groningen by month
2
2
1
1-1
Jan
Feb
Mar
4
4
3
Apr
May
June
8
6
4
3
July
Aug
Sep
Oct
Nov
Dec
n=39
Number of 1-day (purple) and multi-day (orange) music festivals in 2015 in Groningen by month
2
Jan
Feb
3-1
Mar
free
€€€
1
2
5
Apr
May
1-2
3
3
2-1
8
June
July
Aug
Sep
1-day vs. multi-day
festivals
1
day
>1
days
88% 12%
66% 34%
n=41
n=41
4
free
1-1
€€€
1
100% 0%
n=7
Oct
Nov
Dec
n=41
1-day vs. multi-day
festivals - New
1
day
>1
days
100% 0%
n=7
Limburg
Busiest places
Most festivals (73)
New festivals (5)
4
8
5
3
Busiest day: 29 August (4).
Number of music festivals in 2015 in Limburg by month (73)
16
13
1
1
4
3
Jan
Feb
Mar
Apr
10
8
7
May
June
7
July
Aug
Sep
Oct
Nov
Dec
n=70
frequency type in Limburg
in Limburg
0+99+10G 7+24+72339G
1%
7%
One-off
Annually
Several times
a year
Irregular
99%
n=73
24%
39%
7%
23%
New
2-3
4-5
6-10
>10
n=72
Number of paid (purple) and free (orange) music festivals in 2015 in Limburg by month
2
1
1
4
Jan
Feb
Mar
1-2
Apr
1
4
4
6
May
June
5
11
10
6
4
July
Aug
Sep
1
6
Oct
Nov
Dec
n=69
Number of 1-day (purple) and multi-day (orange) music festivals in 2015 in Limburg by month
8
6
Jan
Feb
1
free
€€€
8
9
May
June
July
Aug
Sep
4
Apr
3
Mar
7
4
3
4
1-2
1-day vs. multi-day
festivals
1
day
>1
days
71% 29%
60% 40%
n=70
n=70
free
1
€€€
1
1
100% 0%
n=5
3
4
Oct
Nov
Dec
n=70
1-day vs. multi-day
festivals - New
1
day
>1
days
100% 0%
n=5
Noord-Brabant
Busiest places
Most festivals (168)
New festivals (23)
2
2
5
8
Busiest day: 27 April (8).
Number of music festivals in 2015 in Noord-Brabant by month (168)
24
19
25
23
20
19
11
8
6
Jan
3
4
Feb
Mar
4
Apr
May
June
July
Aug
Sep
Oct
Nov
Dec
n=166
frequency type in Noord-Brabant
in Noord-Brabant
1+89+100G 14+24+1028G
10%
1%
14%
One-off
Annually
Several times
a year
Irregular
89%
n=168
28%
24%
24%
10%
New
2-3
4-5
6-10
>10
n=168
Number of paid (purple) and free (orange) music festivals in 2015 in Noord-Brabant by month
5
2
6
17
18
11
6
5
17
15
14
13
2
1
9
6
Jan
3
4
Feb
Mar
7
4
Apr
May
June
July
Aug
Sep
Oct
Nov
Dec
n=165
Number of 1-day (purple) and multi-day (orange) music festivals in 2015 in Noord-Brabant by month
11
6
Jan
3
4
Feb
Mar
free
€€€
Apr
5
14
13
May
June
1-day vs. multi-day
festivals
1
day
>1
days
77% 23%
65% 35%
n=165
n=166
14
13
July
Aug
15
Sep
free
11
7
€€€
8
10
9
91% 9%
n=23
5
1
6
7
2-2
Oct
Nov
Dec
n=166
1-day vs. multi-day
festivals - New
1
day
91%
>1
days
9%
n=23
Noord-Holland
Busiest places
New festivals (42)
1
1
3
12
Busiest day: 27 April (13).
Number of music festivals in 2015 in Noord-Holland by month (232)
43
38
28
27
22
22
15
7
7
6
Jan
Feb
Mar
Apr
May
June
July
Aug
Sep
Oct
8
8
Nov
Dec
n=232
frequency type in Noord-Holland
in Noord-Holland
3+90+70G 18+25+161724G
7%
3%
18%
24%
One-off
Annually
Several times
a year
Irregular
17%
New
2-3
4-5
6-10
>10
25%
90%
n=232
16%
n=231
Number of paid (purple) and free (orange) music festivals in 2015 in Noord-Holland by month
12
5
32
31
9
3
19
7
7
Jan
Feb
5
18
3
25
17
15
2
1
6
5
Mar
Apr
May
June
July
Aug
Sep
Oct
Nov
8
Dec
n=230
Number of 1-day (purple) and multi-day (orange) music festivals in 2015 in Noord-Holland by month
7
7
36
31
6
27
3
19
4
11
13
7
Jan
Feb
Mar
free
1
5
Apr
May
June
1-day vs. multi-day
festivals
1
day
>1
days
July
Aug
Sep
free
6
1
€€€
1
€€€
22
9
83% 17%
83% 17%
90% 10%
n=230
n=231
n=42
Oct
7
8
Nov
Dec
n=231
1-day vs. multi-day
festivals - New
1
day
93%
>1
days
7%
n=42
Overijssel
Busiest places
Most festivals (73)
New festivals (8)
4
5
4
6
Busiest day: 5 May (4).
Number of music festivals in 2015 in Overijssel by month (73)
16
12
2
1
Jan
Feb
Mar
9
8
8
5
4
Apr
May
June
July
Aug
Sep
Oct
3
3
Nov
Dec
n=71
frequency type in Overijssel
in Overijssel
90+10+G 11+25+71641G
10%
11%
One-off
Annually
Several times
a year
Irregular
90%
n=73
41%
25%
7%
16%
New
2-3
4-5
6-10
>10
n=71
Number of paid (purple) and free (orange) music festivals in 2015 in Overijssel by month
6
2
1
5
Mar
Apr
1
Jan
Feb
4
8
9
4
4
May
June
July
2
4
5
Aug
Sep
1-2
3
3
Oct
Nov
Dec
n=64
Number of 1-day (purple) and multi-day (orange) music festivals in 2015 in Overijssel by month
Feb
Mar
free
€€€
Apr
11
10
2-2
May
June
1-day vs. multi-day
festivals
1
day
>1
days
1
July
8
3
5
2
3
3
3
Aug
Sep
Oct
Nov
Dec
free
Jan
8
2
€€€
1-1
1
5
65% 35%
77% 23%
87% 13%
n=65
n=71
n=8
n=71
1-day vs. multi-day
festivals - New
1
day
>1
days
100% 0%
n=8
Utrecht
Busiest places
Most festivals (69)
New festivals (10)
7
4
1
11
Busiest days: 5 June, 4 September (3).
Number of music festivals in 2015 in Utrecht by month (69)
12
4
4
Jan
Feb
2
Mar
8
3
Apr
May
June
12
6
6
July
Aug
Sep
4
4
Oct
Nov
2
Dec
n=67
frequency type in Utrecht
in Utrecht
1+86+130G 15+30+62623G
13%
1%
15%
23%
One-off
Annually
Several times
a year
Irregular
26%
86%
n=69
New
2-3
4-5
6-10
>10
30%
6%
n=69
Number of paid (purple) and free (orange) music festivals in 2015 in Utrecht by month
2
2
4
4
Jan
Feb
2
1-2
Mar
Apr
10
6
May
June
2
2
1
4
4
July
Aug
9
Sep
1
4
3
Oct
Nov
2
Dec
n=65
Number of 1-day (purple) and multi-day (orange) music festivals in 2015 in Utrecht by month
2
Jan
Feb
2
Mar
free
€€€
3
Apr
May
June
1-day vs. multi-day
festivals
1
day
>1
days
83% 17%
85% 15%
n=66
n=67
6
5
July
Aug
4
8
3-1
4
Sep
free
4
1
€€€
4
10
8
100% 0%
n=10
Oct
Nov
2
Dec
n=67
1-day vs. multi-day
festivals - New
1
day
>1
days
90% 10%
n=10
Zeeland
Busiest places
Most festivals (26)
New festivals (2)
10
10
7
1
Busiest days: 14 May, 25 July (2).
Number of music festivals in 2015 in Zeeland by month (26)
Jan
Feb
2
1
6
Mar
Apr
May
4
June
6
3
2
July
Aug
Sep
Oct
Nov
Dec
n=24
frequency type in Zeeland
in Zeeland
100+G 8+21+1754G
8%
100%
One-off
Annually
Several times
a year
Irregular
21%
54%
New
2-3
4-5
6-10
>10
17%
n=26
n=24
Number of paid (purple) and free (orange) music festivals in 2015 in Zeeland by month
1
Jan
Feb
2
1
4
3
Mar
Apr
May
June
2-1
5
July
Aug
1
Sep
Oct
Nov
Dec
n=20
Number of 1-day (purple) and multi-day (orange) music festivals in 2015 in Zeeland by month
1
2
Mar
Apr
May
free
€€€
4
5
June
July
1-day vs. multi-day
festivals
1
day
>1
days
81% 19%
67% 33%
n=21
n=24
3
Aug
2
Sep
free
Feb
1
€€€
Jan
1-1
100% 0%
n=1
Oct
Nov
Dec
n=20
1-day vs. multi-day
festivals - New
1
day
>1
days
100% 0%
n=1
Zuid-Holland
Busiest places
New festivals (19)
3
3
1
10
Busiest days: 13 June, 19 September (5).
Number of music festivals in 2015 in Zuid-Holland by month (135)
21
19
18
18
14
9
2
Jan
8
8
5
Feb
Mar
Apr
May
June
July
Aug
Sep
Oct
6
Nov
4
Dec
n=132
frequency type in Zuid-Holland
in Zuid-Holland
1+92+70G 14+27+101336G
7% 1%
14%
One-off
Annually
Several times
a year
Irregular
36%
New
2-3
4-5
6-10
>10
27%
92%
n=135
13%
10%
n=135
Number of paid (purple) and free (orange) music festivals in 2015 in Zuid-Holland by month
6
2
1-1
3
6
5
6
Jan
Feb
Mar
Apr
15
5
10
6
12
5
12
9
9
May
June
July
Aug
Sep
3
4
6
Oct
Nov
4
Dec
n=130
Number of 1-day (purple) and multi-day (orange) music festivals in 2015 in Zuid-Holland by month
Jan
1
4
Feb
Mar
free
€€€
2
14
12
4
14
5
6
Apr
May
June
1-day vs. multi-day
festivals
1
day
>1
days
July
Aug
Sep
free
1-1
8
3
11
5
6
€€€
1
4
17
1
3
3
3
3
Oct
Nov
Dec
n=132
1-day vs. multi-day
festivals - New
1
day
>1
days
68% 32%
73% 27%
72% 28%
68% 32%
n=133
n=132
n=18
n=19
Festival maps — 73
Methodology
This Festival Atlas is built on the
many choices that had to be
made related to the research’s
theoretical framework or practical
considerations around the data
collection. These methodological
considerations give insight into
these decisions and the effects
these decisions had on the data’s
presentation and interpretation.
Collecting data on music festivals
The Festival Atlas was developed and realised in
the period of May 2015 through April 2016. The
first phase involved creating a list of as many
festivals as possible, with a clear focus on music
festivals. Various sources were used in this process:
websites, festival calendars, (online) festival guides,
databases, Wikipedia, newspaper features with
overviews of the festival season and interviews with
(fanatical) festival goers. The resulting first ‘dirty’
list included over 1200 festival names. The list was
then cleaned up by removing any repetitions, and
by crosschecking sources to confirm whether a
particular festival actually exists (or existed). An
additional search was made for festival posters
and maps, which resulted in the finding of several
new festival names. From January 2016, festival
information was registered weekly following fixed
protocols. This process also delivered new festivals,
which were then also included in the registration
for 2015. In the end, a total of 1231 festivals were
registered (as of 4 April 2016) into a specially developed relational database (see below).
A second phase involved evaluating whether a festival should be included in the analysis for the Festival Atlas. This evaluation was based on the festival
characteristics as described by Van Vliet (2012)1: a
festival is organised, accessible to the public (paid
or not) and involves multiple performances that
take place during a specific period (mostly one-day
or weekend-long). This general description was
made more specific for this report based on the
following characteristics:
• It’s about Dutch festivals – that is to say, festivals
that take place in The Netherlands (excluding
overseas territories). These could be internationally oriented festivals that take place in The
Netherlands, but not festivals organised by a
Dutch organisation in a foreign country.
• It’s about annual festivals – that is to say, festivals that take place every year. But with the
following exceptions:
- Festivals that only took place in 2015 are also
included (12 festivals).
- Festivals that take place irregularly but happened to have an edition in 2015 (1 festival).
- Some festivals are annual but have more than
one edition a year, such as winter/summer
editions, indoor/outdoor editions, etc. Such
festivals include: 2Generations, Drop the
90s, Grotesque Indoor Festival, Hardclassics,
Kaleidoscope, Kingsland, Lakedance, London
Calling, PRSPCT XL, Rumor Festival, Stekker in
the tunnel, Subway XL, We Are Hardstyle (all 2
editions), Holi Fusion Festival, Nordic Delight
Festivals, B.I.T.C.H., Trossen Los! (all 3 editions),
Deventer Muziek Totaal (all 4 editions).
- Some festivals are annual but then have multiple editions by going to different cities. The
following festivals were all included: Cross-Linx
(Rotterdam, Groningen, Eindhoven, Amsterdam), Loudness (Eindhoven, Delft, Rotterdam),
Muziek bij the Buren (Deventer, Zwolle,
Hengelo, Arnhem, Nijmegen), Neonsplash
(Amsterdam, Groningen), Palm Parkies (Den
Bosch, Tilburg, Roosendaal, Dordrecht, Bergen
op Zoom), Stille Nacht Festival (Rotterdam,
Lelystad, Eindhoven), Summerloverz Festival
(Hoogeveen, Ede, Apeldoorn) and The Flying
Dutch (Eindhoven, Amsterdam, Rotterdam).
- Under the criterion of annual: (weekly/monthly) Dance parties were not included in the
research, but if these parties also had a festival
version, then those were included –Dancetour
(party) was therefore not included but Dancetour festival was included, Essentials (party) was
not included but Essential festival was included,
Pussy Lounge (party) was not included, but
Pussy Lounge at the Park was included, etc.
- Various talent contests in The Netherlands
have many qualifying rounds, all of which have
not been included. However, when the finale
1 H. van Vliet (Red.). 2012. Festivalbeleving. Utrecht: Hogeschool Utrecht.
Methodology — 79
•
•
-
-
•
involves a concluding festival, these were
included (e.g. ‘Grote Prijs van Nederland’, the
‘Popronde’).
It is about festivals that had an edition in 2015,
including cancelled editions. A cancelled
edition is an announced festival that did not
end up taking place. These are different than a
festival that, for example, announces that they
will be skipping a year – this is not considered
a cancellation since the festival never communicated that it would indeed take place that
year. Festivals that no longer existed in 2015 are
obviously not included in this overview of 2015,
but may still appear in the database.
It is about music festivals, but with the following
caveats:
It is not always apparent in a festival’s name that
they are indeed a music festival. Therefore the
website must be visited to evaluate if the name
does indeed represent a music festival. Examples of subsequently removed festivals include:
Amsterdam Festival Experience, Drakenboot
Festival, Lifetime Festival, Surfana Festival and
Tilt festival.
Of the music festivals, jazz festivals and classical
festivals were left out for the pragmatic reason
of keeping the amount of involved research
manageable. Besides jazz and classical, no
other musical genres were left out. This Festival
Atlas edition is about festivals with genres such
as pop/rock/dance/gospel/hiphop/blues/
soul/metal et cetera. ‘Hybrid’ or ‘cross-over’
festivals were evaluated on a case-to-case
basis to see if they should be included in the
research. This dilemma only arose with a few
cases: Gaudeamus Muziekweek, Grenzeloos
(both cross-over from classical) and the North
Sea Jazz festival (cross-over from jazz) were
not included; Rumor Festival (alternative music
seeking cross-over to jazz and classical) was
included.
Music must stand central. Music festivals also
feature fringe programming, such as readings,
workshops, play areas and literary podiums. But
music can also be included in other types of
festivals, such as street theatre festivals or food
festivals. Questions arose with several festivals
on whether they were music festivals with an
expanded fringe program; or whether the music was part of the fringe programming around
another form of cultural expression which was
actually central; or whether the festival had a
broader cultural program with an equal amount
of music as other types of cultural activities,
such as theatre, literature, dance, food. In such
cases, the following consideration were made:
- Festivals are not included when music only
provides the ‘framing’ for the festival. Examples
include: Octoberfests (Achterhoekse Oktoberfeesten, Brabants Oktoberfest, Die Heise
Bierfesten) and the Amersfoort Bock Beer Festival, where beer-drinking is central; American
Tukkerday which is primarily about American
cars; Boeren, Burgers & Buitenlui which is
primarily about foodtrucks; Festival Pure Passe
which is primarily about food and wellness;
Fierce Fashion Festival which is primarily about
fashion, Vierdaagse Feesten Nijmegen which
is primarily about walking (the Valkhof festival
which takes place during the Vierdaagse was,
however, included); Elfia Haarzuilens which is
primarily about fantasy and roleplaying, and the
Brabants Latin festival which is primarily about
dance workshops and demonstrations. All of
the above festivals have music programming –
but it is usually limited and does not form the
main attraction.
- No culture festivals were included that had
music as just one form of many cultural expressions, such as theatre, dance, literature, multimedia, etc. Such festivals included: Afrovibes,
Blikopener Festival, IpsYlon Festival, Living
Lochem, Manus van Alles Festival, Midzomergracht Festival, Robodock, Slowlands, Tweetakt
and Stukafest. Openings of the cultural season
were also not included, such as Amsterdamse
Uitmarkt, Haags UIT festival, LelyStart, Uitfestival
Leeuwarden and Utrecht Uitfeest – since they
are considered cultural festivals and not specifically music festivals.
- The following festivals were, however, included
as music festivals because the music does stand
central with a specific and broad fringe programming: Barber Beer Blues & Tattoos (music
where also ‘barbering’ takes place), Buma Nl (a
conference which features evening programming with shows from Dutch artists), Castlefest
(music with also fantasy and roleplaying), Full
Colour Festival (two music podiums but also
with a cultural market, children’s activities and
street theatre), Southpark Festival Middelburg
(two music podiums for talent, but also with
a cultural market and children’s activities) and
Stratenfestival Zwolle (bands across the whole
city). Stadsfeest Zwolle was not included since it
offers a broad palette of cultural activities.
These discussions around what is, and what is not,
a music festival did not come unexpectedly. Van
Vliet (2012; in press2) has argued extensively that
festivals should be considered a natural category
and not a formal category. For example, a formal
category is the collection of all rectangles. A rectangle is easy to define (four sides with four right
angles), with one rectangle not being any better or
worse than another rectangle. However, a natural
category such as a collection of fruit has many
components that may resemble each other, but
are yet still different. The fruits may share characteristics, but not a single fruit has all the characteristics. They only show a family resemblance. A
consequence of this concept is that the borders
of such a category are ‘fuzzy’ – there is no clear
line to draw around the category. On the edges of
such a category, all sorts of hybrids and composites exist that are not prototypical for the category,
but do have some of the category’s characteristics.
These ideas around family resemblance, (proto-)
typicality and fuzziness have meanwhile been
established as a psychological reality, in the sense
that they explain a lot about how we learn and
2 H. van Vliet. (in press). Festival Experience. A Visitor’s Perspective. Amsterdam University Press.
think in categories. In line with this idea, we had
many early discussions about ‘core’ characteristics
of festivals and the meaning of ‘being central’.
And we did indeed end up confronting ‘fuzziness’:
of the 1200 examples of festivals, there are both
prototypical examples (Pinkpop, Lowlands) and
doubtful cases. Our (research-oriented) responsibilities involve precisely describing how these
doubtful cases are dealt with – as we do in in this
chapter. However, the number of doubtful cases
is limited – it’s about tens of cases, or about 2-3%
of the total. Analysis has shown that including or
not including these doubtful cases has little effect
on the presented numbers (except for the absolute
numbers).
• In the selection of the music festivals, no quantitative criterion was followed in regards to the
size of the music festival – in the sense of the
capacity or number of visitors. The database
includes music festivals with a capacity of only
a few hundred visitors in a tent in a farmer’s
field, and also ones involving tens of thousands
of people in a big city park.
• In the selection of music festivals, no normative
criterion was followed in regards to the nature
or quality of the music festival. It doesn’t matter
if it is a sing-a-long-to-the-oldies festival, an
avant-garde music festival, a big public-pulling
festival or a village pop festival that has existed
for over 30 years, all festivals been registered in
the database as equals.
• Two external data sources were used: Hugo.
events provided information about the genres
of festivals and www.festivalsinfo.nl provided
information about which bands performed at a
particular music festival in 2015.
In the end, the used selection resulted in 924
Dutch music festivals in 2015. Together, these 924
festivals had 968 editions. This number is very high
– in fact, about twice as high – when compared to
existing festival reports (e.g. from Bureau Respons
and EM-Cultuur) and published festival guides (e.g.
the EB Festivalgids).3 Currently, we have no decisive
Methodology — 81
explanation on why these differences exist, since
the different databases have not been compared
on overlaps and differences. In some cases, the
differences can be (partly) explained by the following of different criteria. For example, the research
bureau Respons uses a quantitative criterion and
only includes festivals with around 3000 visitors or
more. We did not follow this criterion because we
saw no reason to do so. In fact, to chart out the
dynamics of the festival sector as well as possible,
we believe that you need to look at small, medium
and big festivals. Only then are you able to answer
questions such as: What is the relationship between small, medium and large festivals? Has the
ratio between these festivals shifted over time? Are
there cases of ‘upward mobility’ – do small festivals
grow into medium and large festivals, and when
does this happen or not? Et cetera… You simply
can’t rule out beforehand, for example, that the
category of small festivals does not have the same
potential dynamics as new festivals. These would
then remain under the radar with a criterion based
on a certain (significant) number of visitors.
The 900+ identified music festivals represents an
under-estimate of reality. Hence, we regard the
dataset – as comprehensive as it might be – as
only a sample and not a description of the full
population. We know that our current number of
music festivals is low because we keep finding and
adding new festival names – including festivals that
had editions in 2015. This can be partly explained
by festivals varying widely in their communica-
3 The factsheet from the festival monitor Respons (www.respons.nl) registers 553 music festivals in 2015, which includes
jazz and classical. The festival overview from EM-culture
(http://www.em-culture.nl/nieuws/infographics/infographic-festival-overview-2015/) presents numbers on over 1002
festivals, of which 44% is pop festivals (a collection of pop/
rock/blues/hip hop/dance/world music, etc.), therefore
around 440. In the index from the EB Festival Guide 2015
includes around 600 Dutch festivals, but this includes jazz
festivals and some theatre and cultural festivals.
tion. For example, not all festivals have their own
website but rather ‘hide’ themselves on Facebook
pages or Twitter accounts – if they even do that.
Not all festivals have a poster, or end up on festival calendars. We regularly come across festival
names that cannot be found back on in-depth
information websites such as www.festivalinfo.nl,
partyflock.nl or www.hugo.events. The ‘fleeting’
nature of information is also an issue: as soon as
one edition is over, festivals are already busy with
the next edition and often take the old information
off their websites. Coming across a festival that has
a nice ‘history’ page with the background and the
programming of all its earlier editions is a rarity –
and was often rewarded by a ‘Yes!’ from the team
collecting the information.
Data collection of social media around music festivals
Based on the original list of music festivals and
their associated websites, an additional action
was undertaken to collect any missing URL’s by
searching for the name of the festival. For the collecting of social media metrics, the first step was to
develop an accurate list of social media profiles. To
make this list, an automated web crawler was developed that could methodically visit all the found
music festival websites and collect their social
media profiles. The list of social media platforms
visited by the web crawler are: Facebook, Twitter,
YouTube, Instagram, Myspace, Deezer, Last.fm,
Spotify, Tumblr, Pinterest, SoundCloud and
Google+. The found social media profiles were
then saved in a database for further processing.
Despite the fact that the web crawler collected
many profiles, we saw that some music festivals
had multiple Twitter or SoundCloud profiles. These
profiles consisted mostly of artists that performed
at the music festival. In a number of cases, the web
crawler collected nothing. The reasons for this
were: (1) technical in that the website was temporarily unavailable or the web crawler could not interpret the source code, (2) the website no longer
existed (3) the address of the website was wrong,
or (4) the music festival had not linked to any social
media profiles from their website.
All found addresses were then checked manually
per music festival. Double addresses and addresses
that did not link with the festival were removed.
During this process, it became evident that music
festivals organised by the same organisation used
the same social media profiles. We also noticed
that music festivals with different editions (for
example, summer/winter or indoor/outdoor) also
used the same profiles. In other cases, a band or
pop venue had organised the music festival. These
observations raised two relevant questions:
(1) Do we include the organisations and locations
in the data collection? (2) What do we do with the
different editions? We decided, for now, to specifically focus on the social media profiles that were
created for the festival itself. Hence, organisations,
bands and locations were not included in the data
collection. For cases where a musical festival used
the same social media profiles for their different
editions, it was decided to include only one edition
in the data collection – to avoid redundant data
and since the social media data is coupled to the
entity ‘Festivals’ (see below).
Besides this ‘un-doubling’, several dozen festivals
were not included that had been added to the
database at the beginning of 2016 – because the
baseline measurement of the social media behaviour of festivals was done in the first week of 2016.
In total, we used 852 music festivals for the social
media analysis.
For the further analysis of the social media data,
we chose to focus on the three most used social
media platforms: Facebook, Twitter and YouTube.
To do this analysis, an application was developed
that brought together a music festival’s website,
Facebook, Twitter and YouTube onto one screen.
Using this application, we could once again quickly
and easily determine, based on the content, if the
profile indeed belonged to the music festival. If a
profile was missing, the application automatically
looked for the music festival on the relevant social
media platform. Based on the logo, the house
style of the website and the location of the music
festival, it was determined if the found profile
indeed belonged to the music festival. During this
last check, we came across profiles that no longer
existed or discovered that the link on the website
was wrong. All music festivals were manually
checked in this way. This resulted in an accurate
list of music festivals and their associated social
media profiles. To collect data about these social
media profiles, an application was then developed
that used the available application programming
interfaces (APIs). Facebook, Twitter and YouTube
use APIs to unlock their data for third-party developers who can then use this data for their own
applications. Our application continues to systematically gather quantitative information via these
APIs. The information, also known as social media
metrics, covers variables such as number of fans,
check-ins, followers, tweets, videos, views, etc.
For 2015, this information was gathered in the first
week of 2016. From January 2016, this information
is collected on the 1st of every month and stored
in a database. From this database, the information
is exported for further analysis and included in the
database Festivalmonitor. In the end, social media
metrics data was collected for 647 music festivals.
The current report applied the following social
media metrics as used by the 647 festivals:
• Facebook - Likes: number of people that like a
festival’s Facebook page (also known as fans).
• Facebook - Check-ins: number of people that
showed that they were present at the physical
location of the festival.
• Facebook - Talking About: number of people
interacting with the messages from the festival
by, for example, reacting, liking or sharing the
message. Or by interacting with the page by
liking it, or by naming it in their own message.
• Twitter - Followers: number of people that follow the festival’s Twitter profile.
• Twitter - Favourites: number of messages
(tweets) that like the festival.
Methodology — 83
• Twitter - Statuses: number of messages (tweets)
that the festival has written.
• YouTube - Views: number of times that the
video shared by the festival has been watched.
• YouTube - Comments: number of messages
placed under the festival’s video.
• YouTube - Subscribers: number of people that
follow the festival’s YouTube profile.
In the future, the application will be expanded to
include other platforms and qualitative information,
such as message content and interactions between fans and music festivals.
Information was also gathered around live streaming – which is the possibility to stream live video on
your mobile phone to another public. In 2015, this
technique received attention via apps such as Periscope and Meerkat. However, collecting data on
live streaming proved challenging. Periscope has
no API or archive (as of January 2016) from which
data can be collected. But Meerkat does offer an
API from which to pick up extra information about
their livestreams – namely, the number of people
that watched the livestream. Unfortunately, it was
not possible to search for the livestreams of music
festivals using the Meerkat API. However, as soon
as someone starts a livestream, this is shared on
Twitter. So we could search Twitter for each festival
(“Name of music festival” + (“mrk.tv” or “meerkat”)).
The Twitter search results were stored, and for
each found livestream, the number of viewers was
collected. Through manual work, a selection was
made of music festivals. This selection consisted of
the 10 largest international music festivals and the
10 largest national ones. By looking at the international music festivals, a comparison could then be
made to help establish the state of livestreaming in
The Netherlands.
The Festivalmonitor database
A relational database, under the name Festivalmonitor, was developed to register the research
data. The most important entities in this research
database are:
• Festivals: registering festivals by attributes such
as name, type (including categories such as
‘music’), frequency (including categories such
as ‘annual’), website, country, year of first edition and year of last edition. Festivals have 0 or
more editions.
• Editions: an edition is an actual occurrence of
a festival. It is a specific instance. You may say
that you are going to ‘Pinkpop’, but it’s more
precise to say that you are going to ‘Pinkpop
edition 2015’. An edition occurs at a specific
place (address, place, province) and at a specific
time (starting date, ending date). Other edition
attributes include capacity, whether it is sold
out or not and whether it was cancelled or not.
At one edition, 0 or more performances take
place.
• Performances: registering the performances
that took place during a specific edition of
a festival, with attributes such as date, start
time, ending time, podium and whether it was
a headline act or not. Each performance is
provided by 1 band or occasion band; a band/
occasion band can give multiple performances
during an edition of a festival.
• Bands: registration of the bands/occasion bands
that provide performances. A band has, among
other attributes, a name and a country of origin.
An occasion band is a (temporary) combination
of different artists who give a shared performance during an edition of a festival.
• Social Media: a festival can make use of 0 or
more social media platforms, such as Facebook,
Twitter, Deezer and YouTube. In the entity Social
Media, the platforms used by the festival are
registered, including their specific address within the used platform. In addition, certain metrics
for each social media platform are collected,
such as the numbers of likes (for Facebook),
tweets (for Twitter) and views (for YouTube).
• Tickets: an edition of a festival can use ticket
sales, around which the following can be registered in the database: type of sales (including
categories such as ‘door’ and ‘early bird’), type
of ticket (including categories such as ‘day
ticket Friday’ and ‘passe-partouts’), amount and
whether service costs are included or not. Alternatively, one can simply register whether the
festival was free or paid.
The database can also register other types of festivals besides music festivals, such as film festivals or
literary festivals, and include additional festival-relevant information such as sponsors, reviews, festival
organisations, fringe programming, band discographies, etc. But currently such information is not yet
being systematically gathered.
Data registration
The registration of data began in August 2015
based on the festivals already collected at that
time. A variety of online and offline sources were
used, including festival guides. The starting point
was always the festival’s website and the information it contained. Since the actual registration only
began later in 2015, we were quickly confronted
(as mentioned earlier) with how the information
on festivals sites quickly ‘evaporates’ after a festival
edition is over. Websites were commonly wiped
of information and replaced with, for example, an
after-movie and an announcement for next year’s
edition. With the Wayback machine on internet
(archive.org/web), earlier versions of the festival
website were searched for; but this only provided
information for a limited number of cases. So
with some cases we had to fall back on finding
information using secondary sources, such as
festival guides and festival information websites.
This information was always double-checked by
comparing it with at least one other source. The
data registration was also seen by at least two sets
of eyes. We followed a working method whereby
the first basis registration was done in Excel where
another person checked it before it was entered
into the database. Typos were unavoidable due
to the sheer mass of data that was registered. For
the quantitative data, specific queries searched the
data to track down empty fields and number/data
fields that seemed unlikely – any required additions
and corrections to the data were then made. With
the experience of the data registration in 2015,
from 1 January 2016 weekly searches are made for
information on festivals that are organised in that
period. Following an established protocol, information is now gathered and registered. Additional
information such as timetables, maps and posters
are directly saved into a separate data environment.
Two adjustments were made during this process
of searching, collecting and registering. The first
involved ticket information. Not only is ticket
information difficult to come by after a festival has
already taken place, but the sector is experiencing
a wild growth of ticket types – including day cards,
passe-partouts, camping tickets, campingXL tickets, camper tickets, group discounts, VIP tickets,
children day tickets, etc. The question also arises
on whether festivals define all these ticket types
in the same way. In addition, the moment of
purchase also has a variety of categories: door
sales, pre-sales, early, super-early bird, late bird (!),
etc. Confronted by all the incomplete data and
the challenges involved doing meaningful analysis
on this great diversity of ticket types, we decided
to stop registering ticket information in such an
in-depth way. Besides, ticket sales organisations already continually and carefully document this sort
of information, linking with their data makes much
more sense than building our own register. So instead of documenting the exact ticket information,
we opted for simply registering ‘paid’ or ‘free’. Of
course, this method is much courser, since ‘paid’
may mean 5 euros or 100+ euros. However, since
this information can be quite reliably found for all
festivals, it does allow for meaningful analysis. One
last comment about ticket information: in cases
of multi-day festivals where one day was free and
another day was paid, the festival edition was registered as paid and free – but this only applied to a
few cases.
The second adjustment related to allocating
genre for each festival edition. As with ticket types,
genre is also experiencing an explosive growth
of different terms used by festivals to reflect what
Methodology — 85
kind of music they offer. It is not uncommon
that ten or more terms are used, with all sorts of
variations and the use of niche genres. It’s also
unclear whether every festival defines the used
genre terms in the same way. At a certain point,
we chose to document only a limited number of
genres – music categories such as blues, rock,
pop, country, metal, folk and EDM (electronic
dance music). These chosen music categories are
based on international scientific research into ‘music preferences’ (see Van Vliet, in press). Multiple
genres can be linked to a particular festival edition.
Per genre, a measurement can be made on the
genre’s prominence. Using a 5-point scale, measurements ranged from ‘1 only’ and ‘2 prominent’
to ‘5 marginal’. For the genre analysis, only very
evident genres were included (score 1 or 2), and
these were mostly in the genres hardrock/metal,
blues and dance.
•
Data-analysis
Most analysis involved merely counting up the information in the database, split up by components
such as period (by month), location (by province)
or by subdivisions such as free/paid. In this process, the following rules were followed:
• To establish the month in which a multi-day
festival edition took place, the first day of the
festival was used. This is important for multi-day
festivals that cross months. Hence, a festival
scheduled for 29 August to 1 September, is
listed as taking place in August, and a festival
running from 31 July to 2 August is listed as
July.
• To establish how many editions a festival has
had, the years between the first edition and
2015 (included) were added together, and
then the number of cancelled editions was
subtracted (since these cannot be considered
as editions). Festivals deal with this in different
ways: some include their cancelled editions
when communicating about their number of
editions, and some do not. We decided to not
include them. This rule was only applied to
annual festivals, and not to festivals that have a
•
•
•
history of irregular editions or that have multiple
editions per year. These require a separate
counting. In addition, many festivals have difficulties in differentiating between how many
years that they have existed and their number
of editions. A festival that began in 2005 has its
10-year anniversary in 2015 with its 11th edition.
Such facts are not always made clear in the
communication on a festival’s website.
Defining a festival as ‘one-day’ or ‘multi-day’
seems straightforward, but festival information
websites deal with it in different ways. For
example, a festival that stops after midnight,
at 1am for instance, gets the date of the new
day as its end date. Here, we do not do this.
If a festival begins on Saturday and runs until
1am on what’s Sunday, we still consider it a
one-day festival. We came across no examples
with which we had to make a decision on, for
example, what to do if a festival ran until 7am
the next day.
With eight festivals, the year of their first edition
could not be determined. Therefore, these
festivals were not included where the number
of editions was used for analysis. Because some
festivals have multiple editions, it can happen
that the numbers are still above the total number of festivals.
Capacity numbers are not always possible to
collect, and almost always come from the
organisations themselves. Capacity numbers
given by multi-day festivals can be particularly
confusing, since it is not always clear if these
numbers refer to the capacity per day, average
capacity or the capacity of the whole festival. To
avoid this problem, we only use capacity numbers for one-day festivals for any of the related
analysis.
For the analysis of the programming at music
festivals, we used the programming data of
festivals over 2015 as provided by festivalinfo.
nl. This data was combined with data registered
in the Festivalmonitor for the selected 968
music festival editions of the Festival Atlas. This
combination gives information on over 13 403
-
-
-
•
performances for 581 of the festivals. This data
was then analysed in three ways:
Of the 13 403 performances, the country of
origin of the band could be determined for 7
996 cases. The most important origin countries
for bands are presented on a world map.
Information about the country of origin is used
to analyse, for example, whether differences
exist between one-day and multi-day music
festivals, and between paid and free music festivals.
The 13 403 listed festival bands are used to
analyse the overlap of programming in music
festivals. To compare festivals (or editions of a
festival), a distance measurement was defined
based on their programme. The distance
between two music festivals is the (root of)
the amount of information you lose of a programme of one festival when you combine
it with the programme of the other festival, if
you know for both what the chance is finding
a band on the programme of one on the programme of the other – the so-called Jensen
Shannon divergence of the co-occurrence distributions. This is maximally 1 bit if the two music festivals have bands that never play at each
other festivals, and minimally 0 bit if the bands
on the two programmes are always precisely
the same. By way of MDS (MultiDimensional
Scaling) the distances between the festivals
were converted to a two-dimensional scatter
plot.
To show the degree in which a festival programs the same bands over the years, an
‘Innovation Index’ was formulated. This index
is calculated by: 1 - (total number of performances of bands that have performed more
than 1x at the same festival / total number of
performances of all the bands at the festival).
This does not include multiple performances at
the same festival edition, which also happens,
but performances over different editions of the
festival. The index can be calculated over two
(consecutive) years, but also, for instance, over
two decades or over the total programming
history.
• For the analysis of genres used by music festivals, data was provided by hugo.events. It was
not possible to filter their information given the
968 music festivals of the Festival Atlas. The
applied information is therefore from the over
1400 festivals registered by hugo.events. Regardless, it can be assumed that a large overlap
exists between the two collections.
• With the comparing of provinces, a ‘diffusion
index’ was used for the festivals. The diffusion
index is a simple measurement that shows the
proportion between the number of places in
a province where music festivals occur, and
the province’s total number of music festivals.
The index has a maximum value of 1, in which
case all festivals take place in different places.
If the index value approaches zero, an extreme
concentration of music festivals exists in a very
limited number of different places. For example,
in the fictional scenario of 100 music festivals in
one province that all occur in the same place,
the spread index would be 0.01.
• A number of so-called rank correlation (Spearman’s rank order correlation) were calculated
to determine if there were any connections between certain rankings, related to the following
statements:
- The ranking of paid and free music festivals over
the months shows a significant correlation with
the whole distribution of music festivals over
the respective months: p(10) = .97, p < 0.01 and
p(10) = .92, p < 0.01.
- The ranking of one-day and multi-day music
festivals over the months shows a significant
correlation with the whole distribution of the
music festivals over the respective months:
p(10) = .97, p < 0.01 and p(10) = .91, p < 0.01.
- The ranking of existing and new music festivals
over the months show a significant correlation
with each other: p(10) = .86, p < 0.01.
- The ranking of paid and free music festivals over
the provinces show a significant correlation
with each other: p(10) = .84, p < 0.01.
- The ranking of one-day and multi-day music
festivals over the provinces shows a significant
Methodology — 87
-
•
-
•
-
-
correlation with each other: p(10) = .86, p <
0.01.
The ranking of the number of music festivals
per province and the spread index per province
shows a significant correlation of 10%: p(10)
= -.55, p < 0.06. This relationship is therefore
inversely proportional: the less music festivals in
a province, the more spread out they are over
the province.
In a few cases a standard pearson correlation
was calculated to determine if any connections
existed between certain data:
The correlation was calculated between the
numbers of Facebook likes, Twitter followers
and YouTube views of 647 music festivals. In all
cases, the results were significantly positive, and
two-sided at 1%: FBlikes - TWfollowers r = 0.87,
FBlikes - YTviews: r = 0.47, TW-followers - YTviews: r = 0.42.
In a few cases, the mutual dependence of
variables was tested with the aid of the non-parametrical chi-quadrant test. This involved the
following statements:
There is a dependence if a music festival is a
new festival or an existing festival, and if the
music festival is a one-day or a multi-day festival: Chi-quadrant = 15.74, p < 0.01. New festivals
are relatively more often one-day festivals.
A dependence exists between whether a music
festival is a new festival or an existing festival
and whether a music festival is a paid festival or
a free festival: Chi-quadrant = 11.53, p < 0.01.
New festivals are relatively more often paid festivals.
Alphabetical list of music festivals 2015
11:11 Festival
18hrs Festival
1992 is 4 you!
1anderfestival
22Fest
2Generations (Winter)
2Generations (Beach)
5 Days Off
538 Koningsdag
7th Heaven Outdoor
7th Sunday Festival
8Bahn Harbour Festival
8Bahn Night & Day
909 Festival
90s Megaparty
90s No Limits
A Day at the Park
A Day of Wonder
A Festival Downtown
A State of Trance
A Walk in the Park
Aaipop
Aangeschoten Wild
Abbey Sessions
Absolutely Kingsnight
Acid Orange
Afrikafestival Hertme
After Summer Festival
Afterslag
Ainrommer Oavend
AlexAnders Festival
All Muzing Experience
Alphen d’Huez
Amstelveen City Blues
Amsterdam Dance Event
Amsterdam Electric Guitar Heaven
Amsterdam Live on Stage Festival
Amsterdam Metalfest
Amsterdam Music Festival
Amsterdam Open Air
Amsterdam Roots Festival
Amsterdam Woods Festival
An Evening With The Blues
Angerfist Raise and Revolt
Anywave
Appelpop
Appelsap
Art of War Festival
Asser Bluesdagen
Atmoz Classics Outdoor
Awakenings Easter Special
Awakenings Eindhoven
Awakenings Electric Deluxe
Awakenings festival
B.I.T.C.H.
B.I.T.C.H. (Haley Angels)
B.I.T.C.H. (Bonus)
B*There
Babypop Outdoor Festival
Back to the 90s
Back to the 90s Outdoor
Badpop
Bam! Festival
Band Talent Leiden
Barber Beer Blues & Tattoos
Baroeg Open Air
Bassrulers Outdoors
Bastard Fest
Bastille Metalfest
BBQ Pop
BCKYRD Festival
Beach Bash Festival
Beach Event Son
Beach Festival Haarlemmermeer
Beach Party Outdoor
Beach Rockers Festival
Beachboom Festival
Beachboom Festival Winter
Beam Festival
Beat the Boktor Fest
Beat the Bridge
Beatloverz
Beatz & Bandz Summerfestival
Beeckestijn Popfestival
Beek Live
Beerland
Behind Bars
Bergs Bluesfestival
Best Kept Secret
Betoncentrale Festival
Betuws Spektakel
Bevrijdingsfestival Alkmaar
Bevrijdingsfestival Amsterdam
Bevrijdingsfestival Brabant
Bevrijdingsfestival Den Haag
Bevrijdingsfestival Drenthe
Bevrijdingsfestival Enschede
Bevrijdingsfestival Flevoland
Bevrijdingsfestival Fryslân
Bevrijdingsfestival Groningen
Bevrijdingsfestival Limburg
Bevrijdingsfestival Nijmegen
Bevrijdingsfestival Oldenzaal
Bevrijdingsfestival Overijssel
Bevrijdingsfestival Utrecht
Bevrijdingsfestival Wageningen
Bevrijdingsfestival Zeeland
Bevrijdingsfestival Zuid-Holland
Bevrijdingspop Haarlem
Bevrijdingspop Ilpendam
Beyond Festival
Bierpop
Biespop
Big Band Festival (Alkmaar)
Big Band Festival (Goor)
Big Rivers
Biggg! Smallband Festival
Bimray Gospel Festival
Bintjesfest
Bleekpop
Blendfest
Blijdorp Festival
Blue Moon Festival
Bluegrass Beeg
Blues & Roots Festival Oosterhout
Blues Alive Deurne
Bluesrock Festival
Bluesroute
Bluesroute Helmond
Bluezy Blues Festival
BMM Festival
Bockesprongen
Booch Festival
Boogiedown
Boothstock
Bospop
Boulevard Outdoor Festival
Bounce Festival
Brabant Live
Brabantse Wal Festival
Brak in het Park
Brandend Zand Festival
Methodology — 89
Breakfest
Breda Barst
Breda in Concert
Breda Live
Brij Blues Night
Broekrock
Brothers Open Air
Bruis
Buiten Westen
Buma NL
Buma Rocks
Bungalup
Bunkerpop
Castle of Love
Castlefest
Catch
Chateau Techno
Cinema In de Kuip
City Beats
City of Dance Festival
Cityrock Leeuwarden
Click Festival
Concert at Sea
Concrete City Festival
Conincx Pop
Contra Open Air
Contrabanda Festival
Contrast Festival
Counter Culture Festival
Craft
Crazy Sexy Cool Outdoor Festival
Cross-linx (Amsterdam)
Cross-linx (Eindhoven)
Cross-linx (Groningen)
Cross-linx (Rotterdam)
Crossing Border
Cruise And Dance
Culemborg Blues
Cult & Tumult
Dag van het levenslied
Dagverblijf Winterfest
Damaris Festival
Dance & Hardstyle in the Park
Dance at the Beach
Dance Boulevard
Dance Festival Haarlem
Dance Nature Festival
Dance Valley Festival
Dance4Liberation
Dancecity
Dancetour Zomerfestival
Dauwpop
Daylight Festival
De dag van de Muziek
De Koninck Bluesfestival
De Nacht van de Kaap
De Nacht van Electra
De Revolutie
De Roos van Nijmegen
De Vrienden Van Amstel Live
De Zomer van Mares
De Zon
deBeschaving
Decibel Outdoor
Dedicated
Defqon.1
Dekmantel Festival
Delfpop
Destress Festival
Deventer Muziek Totaal (Bluesnight)
Deventer Muziek Totaal (Koningsdag)
Deventer Muziek Totaal (Herfst)
Deventer Muziek Totaal (Lente)
DGTL Festival
Dias Latinos
Dicky Woodstock Popfestival
Dieksiepop
Dijkfeest
Dijkpop Festival
Dijkrock Festival
Dirty Dutch Meta Morphosism
Dive Festival
Diynamic Festival
Dobbefestival
Dockyard Festival
Dokk’em open air
Dolfinn Rocks
Dollenacht Festival
Dominator
Don’t let daddy know
Donderslag
Doorgedraaid Festival
Down the Rabbit Hole
Down Under Festival
Draaimolen Festival
Dream Village Festival
Dreamersland
Dreamfields Festival
Drift Festival
Drijf-in Blues Festival
Dromenland Festival
Drop the 90s
Drop the 90s Outdoor
Dutch aqua Festival
Dutch Doom Days
Dutch Valley
Dwaze Dinsdag
Dynamo Metalfest
Eastville Festival
Edit Festival
Eendracht Festival
Ei-Pop
Eindhoven Bop City
Eindhoven Goes Ibiza
Eindhoven Metal Meeting
Eindhoven Psych Lab
Elastiek
Electric Orange Festival
Electronic Family
Electronic Picnic
Elevator Sessions
Embassy Festival
Emporium Festival
Encore Festival
Enjoy HHW
EO-jongerendag
Epic Metal Fest
Epic Vibes festival
Epop Festival
Essential Festival
European World of Bluegrass Festival
Eurosjopper
Eurosonic Noorderslag
Expedition Festival
Experience Outdoor
Explosion Festival
Extrema Outdoor
Extrema Solar Weekend
Fairytale Festival
Faktum 51 - Madchester
Falcon The Tempo Tantrum of Hardcore
Fantasy Island Festival
FAQ Festival
Farmfest
Feelgood Festival
FemME II
Festifari
Festifest
Festifoort
Festivaart
Festival De Bestuiving
Festival Gezellig
Festival Havenwerk
Festival Het Alternatief
Festival Hongerige Wolf
Festival Impact
Festival Kingsday Zeeland
Festival Mundial
Festival Onderstroom Vlissingen
Festival Op ‘t Eiland
Festival Pal Mundo
Festival Plein 7
Festival Strand
Festival van het Levenslied
Festival Zonder Naam
Festyland
Fields of Folk
Fields of Joy
Fire Festival
Flinke Pink Festival
Focus Festival
Forever Festival
Forever Young
Fortarock
Foute Zomerfeest
Frank <3 Giel Festival
Methodology — 91
Frank Festival
Free Festival - The Harder Styles
Free Festival - The Original
Free for you
Free Your Mind Festival
Freefall Festival
Freeze Festival
Freshtival
Frisian Metal Night
Full Colour Festival
Full Moon Beach Festival
Full Moon Festival
Fullmoon Festival Tilburg
Fuze Outdoor
Gaasperpleasure
Gaellus Open Air
Gay Fantasy
Geheime Liefde Festival
Geinbeat Festival
Geleen Calling Festival
Geluid van Loosduinen
Geulpop
Ghosttown
Giga-G-Festival
Gitaarfestival Enkhuizen
Glemmer Beach Festival
Go Dutch Festival
Gogbot
Gorinchemse Zomerfeesten
Graauwrock
Graefenthal
Grasnapolsky
Graspop
Grauzone Festival
Green Vibrations
Greidhoek’ Festival
Groenendaal Festival
Grolsch Summer Sounds
Groove Garden Festival
Grote Prijs van Nederland
Grotesque Indoor Festival (Spring)
Grotesque Indoor Festival (Winter)
Ground Zero Festival
Guilty Pleasure Festival
Haagse Popweek
Haarlem Beach Festival
Haerlemsche Helden Festival
Halfvastenfeesten
Haltpop
Hard Bass
Hard Candy Outdoor
Hardclassics
Hardclassics (Italy vs Holland)
Hardclassics on the Beach
Hardcore Alliance
Hardcore Classics
Hardcore4Life
Harder Than Ever
Hardfest
Hardkingz
Hardshock Festival
Hardwell Revealed
Haringrock
Harmony of Hardcore
Have a Nice Day Festival
HBO Introfestival
Healing Garden
Heartland Festival
Heaven Open Air
Heechsimmer Festival
Heerlijk Hemelrijk Festival
Heineken Internationaal Boogie & Blues Festival
Holland
Heisa Festival
Hemels Festival
Hemeltje Lief Festival
Here comes the summer
Het Kraokfestival
Hidden Treasures
Hifi Festival
Hilversum Alive
Hipfest
HobNob Festival
Hoeve Blues Roots Rock Night
Höftedagen Hengevelde
Holi Fusion (Eindhoven)
Holi Fusion (Maastricht)
Holi Fusion (Nijmegen)
Holland Pop Tribute Festival
Hoogeveen Live
Hoorn Rock’n’Roll Sunday
Horizontoer
Hossa!
Høtspot Festival
House4Pleasure Festival
Housequake
Houtfestival Haarlem
Houtpop
HPC Winterfestival
Huntenpop
I love HipHop
IAMTHECITY
IBB-Fest
Identity Summer Festival
IJsselFEstein
Imaginarium Festival
In The Cloud Festival
Incubate
Indian Summer Festival
Indicator Outdoor
Intensss Outdoor
Intents Festival
International Cajun & Zydeco Festival
International Gipsy Festival
Into Darkness
Into the Grave
Into the Great Wide Open
Into the Void
Into the Woods
Jam de la creme Festival
Jannarok Festival
Jera on Air
Jordaanfestival
Julianapop
Kaags Muziekfestival
KaaiLive
Kaap de Groene Hoop
Kaaspop
Kadepop
Kaderock
Kaleidoscope (1)
Kaleidoscope (2)
Karma Outdoor
Kashfest
Keifestival
Keltfest
Keltisch Festival Wijhe
Keltisch Midzomerfestival
Keltische Middag
Kempenerpop
Keti Koti Festival
Kids ‘n’ Billies
Kindergarten
King Kong
King’s Day at the Park
King’s Day Strand West
Kingdance
Kings of Core Festival
Kings of Hardstyle Outdoor
Kingsday Festival
Kingsday Open Air
Kingsland
Kingsland
Kingsnakes Festival
Kiss ‘n’ Run
Klamme Handjes Festival
Kletskoek
Kliko Fest
Klok Rock Orange
Klomppop
Knock Out!
Knuffelbeer Festival
Koele Koele
Koempelrock
Koetstock
Koning Disco
Koppelpop
Koud Serveren Open Air
Kovvernacht
Krachtstroom Festival
Kwadendamme Bluesfestival
Lakedance (1)
Lakedance (2)
Lakeside Festival
Methodology — 93
Landjuweel
Last Minute Summer Event
Latin Dance Night
Latin Village Festival
Lazy Sunday Festival
Le Guess Who?
Le Guess Who? May Day
Lef! Festival
Lente Kabinet Festival
Let’s get Lost
Lief Festival
Life I Live Festival
Lil’Hill
Liquicity Festival
Live at the Brons
London Calling (1)
London Calling (2)
Los in de Loods
Lost Memories Outdoor
Loudfest
Loudness (1)
Loudness (2)
Loudness (3)
Lovedance
Loveland ADE
Loveland Festival
Loveland van Oranje
Loveland Weekender
Lowlands
Lulboompop
Luminosity Beach Festival
Lunapark
Maasboulevardfeest
Maasgouwmania
Maddog Metalfest
Made in Holland Zomereditie
Madnes
Magneet Festival
Majestic Dance Event
Making Waves Festival
Mama’s Pride
Manana Manana
Masquerade Midnight
Masters of Hardcore
Meddle Festival
Meerlive
Meerpaaldagen
Mega Beach Festival
Megabase Outdoor Digital
Memory Lane
Memphis Heart ‘N’ Soul
Merlinpop Festival
Metropolis Festival
Midsummer Margraten
Milkshake Festival
Mindset Outdoor Festival
Minirok
MirandaMania Festival
Misfit Festival
Misfit Festival Indoor
Misty Fields
Mixtream Festival
Momfest
Moonshine Madness
Motel Mozaïque
Moulin Blues
Mumbai Color Festival
Music Meeting
Mutesounds Festival
Muze Misse
Muziek bij de buren (1)
Muziek in Giethoorn
Muzuder Rock Festival
Mysterious Outdoor Stadium
Mysteryland
Mystic Garden Festival
Nach van ‘t Limburgse Leed
Nachtbrigade Winterparade
Nachtklooster
Naked Song Festival
Nazomeren Festival
NDSM Vrijhaven
NeonSplash (1)
NeonSplash (2)
Neurotic Deathfest
Newborn Festival
Night at the Park
Night of the Proms
Nirwana Tuinfeest
Nispen Blues Festival
Nix Blues Night
No Milk Today
Noisia Invites Festival
Nomads Festival
Noorderparkfestival
Nordic Delight Festival (Norwegian Night)
Nordic Delight Festival (Choir of Believers)
Nordic Delight Festival (Iceland)
North Sea Soul Festival
North Sea Surf Festival
Northcote
November Music
O.W.A.P.
Obsession Outdoor Festival
Occultfest
Oerrock Festival
Off The Record
Ohm Festival
OMG! Festival
On(w)ijs Festival
Once Upon A Time in the West
One Day in Summer
Oosterhout Live
Op de Tôffel
Op de Valrave
Op Dreef Festival
Orange Festival
Oranje Festival
Oranjebloesem
Oranjekoorts Festival
Oranjepop Nijmegen
Oranjerock
Oude Haven Zomerfestival
Out of Control
Outcatz Festival
Outdoor Stereo Festival
Outlands Open Air
OutRageous Festival
Outsiders Festival
Over De Top festival
Overstad City Festival
Paardpop
Paaspop
Paaspop Den Hout
Paaspop Zieuwent
Pacha Festival
Pact Festival
Palm Parkies (Bergen op Zoom)
Palm Parkies (Breda)
Palm Parkies (Dordrecht)
Palm Parkies (Roosendaal)
Palm Parkies (Tilburg)
Palmpop
Pandemonium
Paperclip Festival
Paradigm Festival
Paradiso Playground
Parckpop Ilpendam
Park Beats
Parkcity Live
Parkfeest Oosterhout
Parkfest
Parkfestival Nieuwegein
Parkpop
Pastorale Nisse
Pedro Pico Pop
Peelpop
Peerock
Pillar Dance Event
Pinkpop
Pinkpop Classic
Pisart Festival Eijsden
Pitch Festival
Pitpop
Plaatpop
Plato Planet
Play Festival
Pleasure Island
Plein Open
Pleinpop
Pleinvrees Heroes
Pleinvrees King’s Day
Methodology — 95
Ploegendienst Festival
Ploegfestival
Plufest
Pluspop
Pocketpop
Polderpop
Pop on Top
Popcity
Popelucht
Popronde
Potatolands
Preipop
Prilpop
Prison Blues Festival
PRJCT Music Festival
ProgFrog Festival
Progpower Europe
PRSPCT RVLT Festival
PRSPCT XL (may)
PRSPCT XL (december)
Psy-Fi Festival
Puddingpop Festival
Pussy Lounge at the Park
Puur Festival
Qapital
Qlimax
Qmusic Foute Party
R2R Fest
Ramblin’ Roots
Randrock
Rapalje Zomerfolk Festival
Rariteitenkabinet Festival
Rascalfest
Rastaplas
Rave The City
Raw Beats
Raw Definition Outdoor
Raw Frequency
Rebelfest
Rebellion
Rebirth Festival
Remember the 90s
Resist
Retropop
Return 2 The 90s
Reuring Festival
Reurpop
Rewire festival
Rhythm & Blues Night
Ribs & Blues
Rijkdom Festival
Riverland Festival
Roadburn Festival
Robles Rock
Rock Alive
Rock Around Giethoorn
Rock Around the Bridge
Rock of Ages Festival
Rock op Brink
Rock Röring
Rock’n’Rollstreet Festival Terschelling
Rockin’ Parkweg Festival
Rocktocht Eindhoven
Rode Oortjes festival
Roekrock Festival
Roest Festival
Rondje-om-de-kerk-festival
Roots in the Park
Roots Open Air
Rosrock
Rotorock Festival
Rotterdam Deathfest
Rotterdam Outdoor
Rotterdamse Rave
Rough State
Route 024
Ruis Festival
Rumor Festival (1)
Rumor Festival (2)
Rush Festival
Salsa Breeze Festival
Saturday Live Festival
Save Our Summer
Schemerlamp Festival
Schievesteval
Schippop
Schollenpop
Scumbash
Secret Forest Festival
Secret Society Festival
Sena PopNL Award
Sensation
Sense for Trance
Septemberpop
Shoeless Festival
Silent Everything
Simply Wild
Singelfestival
Sjwaampop
Slam! Koningsdag
Sleazefest
Sleeptouw Festival
Smartlappenfestival Amersfoort
Smartlappenfestival Utrecht
Smeerboel Festival
Sneakerz in de Stad
Sneeuwbal Winterfestival
Sneeuwpop Dinxperlo
Sneeuwpop Hoogwoud
Sneeuwpop Obdam
Sneeuwpop Wateringen
Snertpop
Sniester
Soccerrocker
Soenda Festival
Solar Weekend Festival
Solarfall
Solstice Festival
Sommeltjespop
Songbird Festival
Sonic Festival
Sotu festival
Southern Bluesnight
Southpark Festival Middelburg
Spatial Outdoor
Speedfest
Speelweide/Nachtweide
Spieringfestival
Spijkenisse Festival
Splinterfestival
SPOEL
Spring Eenrum
Springpop Revival
State-X New Forms
Stekker Festival
Stekker in de Tunnel
Stekker in de Tunnel (NYE)
Stereo Sunday
Sterrenfestival
Stille Nacht Festival (Eindhoven)
Stille Nacht Festival (Lelystad)
Stille Nacht Festival (Rotterdam)
Stone Rock Festival
Stonehenge Festival
Strafwerk Festival
Strandbal festival
Strandfestival Zand
Stratenfestival Zwolle
Streetrock
Strooipop
Structure Festival
Subroutienfestival
Subway XL (1)
Subway XL (2)
Sugar Mountain Festival
Summer Beatz
Summer Energy Festival
Summer Square
Summerlake Outdoor Festival
Summerloverz Festival (Hoogeveen)
Summerloverz Festival (Apeldoorn)
Summerloverz Festival (Ede)
Summerstrike Festival
Sunglow Festival
Sunsation
Superbash
Supersized King’s Day Festival
Supersized Raw Special
Supremacy
Sweelpop
Swing op de Brink
Swolgen Rocks ‘Open Air’
Taaipop
Tag Festival
Take Root
Techn040
Methodology — 97
Tegenstroom Festival
Terug naar het Begin
Texelblues
The Brave Festival
The Feel of Woodstock!
The Flying Dutch
The Flying Dutch (Amsterdam)
The Flying Dutch (Eindhoven)
The Hague African Festival
The Holland International Singer-Songwriter Festival
The Promised Land Festival
The Promised Land Open Air
The Road to Graauwrock
Thuishaven Op Reis
TikTak Eclectic Music Festival
Time Warp Netherlands
Tinte’s Zomerfeest
Tispelpop
Tivolivredenburgfestival
Todo Mundo
Toffler Festival
Together We Are Festival
Together we are Hardcore
Totaly Summer Reunion
Tower Festival
Trance Nation
Transito
Trossen Los! (1)
Trossen Los! (2)
Trossen Los! (3)
TT Festival
Uit Je Bak Festival
Ultrasonic Festival
Under the Milky Way
United by Music Festival
Unity Festival
Unlocked Festival
Urpop
Utopia The Party
V-land Festival
Valkhof Festival
Valrave Festival (1)
Valrave Festival (2)
Valtifest
Vechtival Outdoor
Veenhoop Festival
Vendetta
Verknipt Festival
Vers! Festival
Verueno
Very ‘eavy Festival
Vestingpop
Vestival
Vestrock
Vitamin Z Festival
Viva Brasil Festival
Voetjes van de Vloer
Vogelvrij Festival
Voltt Loves Summer Festival
Voodoo to Go Festival
Vorstival
VOTOWN Festival
Vrienden van de Hout Live
Vrij Festival
Vrije Volk Festival
Vrijland Festival
Vunzige Deuntjes Festival
Wâldpop
Walhalla Zomerfeesten
Wallenpop
Wantijpop
Wasted Festival
Waterpop
Wave Festival
We Are Electric
We Are Hardstyle (1)
We Are Hardstyle (2)
We are the Crowd
We Love the 90s
Weitjerock
Welcome to the Future Festival
Welcome to the Village
Werfpop
Wessummer Breeze
Westerpop
Westlandse Cross
Where the wild things are
Where we have met
Wiedepop
Wild Kingdom Festival
Wildness Festival
Winch Outdoor
Winterkriebels
Winterpark Festival
Winterpeen festival
Wintersleaze
Wish Outdoor
Wolfstijd
Wonderland Festival
Woo Hah! Festival
Woodlands Festival
Woodstock@Roepaen
Wooferland
World Minimal Music Festival
World of Pleasure
X-Qlusive Frontliner
X-Qlusive Holland XXL
Xplode Festival
XXLerator Carnaval
Xxllerator Raw Festival
You Rock and Run
Zandstock
Zebra Festival
Zeezout Festival
Zino Classixs Outdoor
Zoks Festival
Zomaarpop Festival
Zomer op het Plein
Zomerkriebels Festival
Zomernacht Festival
Zomerpop
Zomerterras
Zonnerock Nazomerfestival
Zwarte Cross
Zwemfest
Methodology — 99
Festival Atlas team
Harry van Vliet
Professor
Saw Paul Weller of The Jam jump very high
during Jazz Bilzen 1978.
Erik Hekman
Senior Researcher
A man who will never again try to sell
authentic Mexican food to festival visitors...
Iris Willems
Researcher
Has the record of consecutively visited
festivals that were mud-filled: 7!
Julian Meertse
Junior Researcher
Is still waiting for his first festival – but did
see Ariana Grande at Ziggo Dome...
Festival Atlas team — 101
Festival information websites — 103
Colophon
Festival Atlas.
Festival Atlas is a product of MXStudio/Cross-media Research Group, Amsterdam University of Applied
Sciences.
June 2016
ISBN 978-90-813161-5-6
Author and Editor: Harry van Vliet
Contributors: Erik Hekman, Iris Willems en Rogier Brussee
Research team: Harry van Vliet, Iris Willems, Erik Hekman & Julian Meertse
Thanks to: Members of the Cross-media Research Group at the Amsterdam University of Applied Sciences,
and all festival and event professionals, researchers, teachers and students that have helped over the last
years – without perhaps even knowing it – by pushing us in the direction of the idea for this atlas. Thanks
to Maryam and Carlo for the ‘iterative’ developing and realising of this atlas. A special thanks to Rob van der
Zwaan of Festivalinfo.nl for making the festival programming data available, and to Guy Kessels and Sietse
van der Laan of hugo.events for making the festival genre data available. We hope that their shining
example will inspire others to follow...
Design: Tangerine Design
Realisation: Armchair Adventure
Publisher: Plan B Publishers
Printing: www.lulu.com
Website realisation: Refresh Interactive
Visit: www.festivalatlas.nl

Festival Atlas 2015

Transcription

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