The Great Escape Grapples with Growing Pains

As one of the world’s major showcase festivals, The Great Escape has undergone significant changes, transitioning from an independent entity to being owned by Live Nation. While it is not the first large-scale event post-COVID (SXSW took that honor in March), The Great Escape’s return to full capacity after almost two months since SXSW was not without its challenges, largely stemming from the lingering impacts of the pandemic.

What became evident at The Great Escape was an influx of the general audience, those not affiliated with the music industry, eager to partake in what may have been Brighton’s first major festival post-COVID. Several gig venues were overwhelmed with attendees, to the extent that reports surfaced of industry professionals who, despite paying for a stage, found themselves unable to access their own shows due to overcrowding. Unlike previous years, there was no designated line for badge holders, creating a predicament for professionals aiming to catch performances and resulting in missed opportunities.

An ongoing debate revolves around whether a significant portion of industry professionals attends the festival with a genuine interest in discovering new artists or engaging with panel discussions. Many seem to gravitate directly towards what The Great Escape is renowned for—parties. During my time at the festival, I received over 70 party invitations, each vying for attention in a highly competitive landscape. The days of merely offering free drinks and a chance to connect with staff and artists seem to be a thing of the past. Similar to the excesses witnessed during the later years of MIDEM, hosting a successful event now demands proximity to the beach, added attractions like food, premium drinks, and an exclusive guest list to attract key individuals.

The challenge lies in the quality of professionals attending, as there’s a considerable range in the caliber of pro badge holders. Many are newcomers merely seeking the cool factor of being present at a large-scale event, with less emphasis on conducting meaningful business. This creates a scenario where one must navigate through numerous parties in a short timeframe, engaging in rapid-fire introductions with varying degrees of success in establishing genuine connections.

Last year, the day-end party traditionally concluded at the Queen Hotel, but this year it turned into a logistical nightmare, with long queues discouraging attendance and causing the disintegration of the traditional “see all” experience. For those who managed to get in, the bar’s early closure at 1 o’clock added to the anticlimactic atmosphere.

Another issue surfaces with the influx of industry professionals from London. While they descend upon The Great Escape, many depart by Friday evening, turning Saturday into a slow day, limiting potential networking opportunities.

For The Great Escape to be a fruitful experience, a substantial pre-existing network is crucial, allowing for concise elevator pitches and meaningful handshakes. A one-time annual attendance may result in significant expenses, primarily spent socializing with friends and showcasing artists to the local Brighton crowd.

The Great Escape, with its emphasis on large-scale, bustling parties, may not provide the ideal setting for serious business endeavors. Perhaps it’s a lesson echoing the decline of MIDEM. Export offices might reassess their strategies, as evident by several underwhelming export tryouts away from the beach amidst the festival’s considerable crowd.

For more information, visit: The Great Escape Official Website