Tag Archives: Sasquatch 2010
The sentiment is echoed in business models being pushed by the music industry itself. The summer music festival scene is exploding. The hugest multi-day concerts, like Austin City Limits and Sasquatch, are selling out months ahead of time. Old staples, like Sarah’s McLaughlin’s Lilith Fair, are being reborn, and locally-organized independent music festivals and folk festivals are springing up and growing all over the world.
And the festival model makes sense for promoters and producers. Rather than funneling time and money into a single artist, and concerts that may draw a few hundred fans, they get to run an efficient, cost-effective music Wal-mart: huge crowds all get the same decent product, relatively low cost-per-band, short sets, cattle-style herding from beer to food to port-a-potty. It all runs like a big box store for concert-goers.
Even during a recession, kids are willing to fork over the cash (as much as $300.00 for a basic ticket to a 4-day festival) to see their favorite bands and enjoy the festival experience. And some, like Bonnaroo, are growing exponentially, pulling in $30 million last year alone through ticket sales and ad partnerships.
Right this minute, people are going nuts over the recently announced lineup for this year’s Sasquatch Music Festival. In fact, according to the official Sasquatch Twitter feed, “Sasquatch 2010 lineup” is currently the most searched phrase on Google, not just in the U.S. but, like, on the planet earth.
Not a surprising response, considering the roster of indie’s best and brightest. Headlining acts will be Pavement, Massive Attack, Vampire Weekend, MGMT, My Morning Jacket, and – OMG! – Ween! From there, the lineup only gets more awesome, and predictably, more obscure.
This year might be Sasquatch’s furthest foray from anything that could be considered mainstream music. While some fans feel like they’ve just stepped into a world they usually only visit via iPod, other are left wondering, “who the hell are these bands?”
The question has far-reaching implications. How should organizers go about building a festival lineup during an era when fan-bases are becoming increasingly dispersed, and the universally-adored superstar a creature in danger of extinction? While most of the bands on the Sasquatch roster have fans all over the world, dedicated bases of local supporters are becoming increasingly rare.