Every year music festivals strive to wow audiences and festival-goers with impressive stage designs and layouts that seemingly always improve on previous years. Who are the army of people and artisans behind the creation of these magical stage designs that take months to produce.

With a focus on sustainability more music festival organisers are looking at alternative ways to construct and build their festival sites using reclaimed materials. What are the key considerations in using reclaimed materials and how do organisers get started by incorporating this into their site build plans.

It was widely reported in the media this year that many music festivals struggled to recruit sufficient numbers of volunteers for their events. This may be an ongoing trend going into next year's festival season, what can organisers do to ensure they recruit enough volunteers to successfully run their events in 2023.

With many economies in turmoil combined with an uncertain political environment is the music festival sector still experiencing a staffing dilemma? The coronavirus pandemic forced many experienced festival staff to switch careers making it challenging for organisers to recruit experienced personnel in 2022, how has this situation developed in the final quarter of 2022.

The lifeblood of any major music festival is securing sponsorship for their event. Revenue from sponsorship deals can form a significant profit centre for festival organisers. As the popularity of music festivals increasers retailers and other consumer brands are increasing their investment in the sector.

Queues to enter a music festival site are unwelcome by festival-goers and organisers creating frustration for all involved. Aside from associated safety concerns long queues also generate immense dissatisfaction amongst ticket buyers potentially damaging the event’s brand and reputation. What steps can organisers take to manage and eliminate queue times.

The mysterious world of music festival ownership can be complex making it difficult to know who owns what. The transparency of festival ownership various from country to country depending on financial regulations and the history of music festival growth. Why is it sometimes so difficult to find out who owns what in this sector?

A large music festival will attract a very broad group of people and this diversity is encouraged. Unfortunately, this diversity will often mean that unsavoury elements of the population are also likely to attend a festival. How can organisers manage removal of these undesirable individuals without causing disruption.

Although the sales of electric cars have been rapid the penetration of ownership remains very small. Music festival organisers are keen to promote use of cleaner energy vehicles when festival-goers are making travel arrangements and discounted parking is now common. What additional considerations are required for managing electric vehicles on a festival site?

Operating any music festival van be a risky business and many entities are lucky to break even or make a profit. The pressure on organisers has increased this year with rising costs and in some cases difficulties in generating sufficient numbers of ticket sales. What options are available for organisers prepared to make changes to reduce their operating costs.

Every music festival organisation now publishes their sustainability policies in a publicly available format to demonstrate their commitment. These policies may be well thought out and well-intentioned but have festival organisers given any serious thought about what their published policies mean and how their events can be truly sustainable?

The electricity required to power a large multi-day music festival can be huge making it difficult for organisers to accurately match supply with demand. How can festival organisers balance the power requirements against output whilst taking full consideration of cleaner electricity generation objectives and keeping expenditure within budgetary requirements.

Providing great customer service is essential for any organisation and is critical for music festival entities too. With a focus on producing memorable experiences for festival-goers many organisers sometimes give little emphasis to the provision of customer service. Should festival organisers outsource this function or keep it in-house.

The production of Pride events has always been challenging and having the right support for event organisers is essential to their ongoing success. What resources can organisers reach out to for support and advice in developing their cause and creating inclusive events for all to enjoy.

The music festival season in Europe and North America usually runs from May through to September every year. For counties in the southern hemisphere the summer festival season runs from November to March. Can festival organisers operate events in both hemispheres to balance out this seasonality in their business.

For any musician or artist making a live performance on a large festival stage in front of thousands of festival-goers can be intimidating. As well as producing a great sound set there are some techniques that can be used to enhance the audience experience by adding elements to a show.

Having an online presence for a music festival is essential for generating interest, making ticket sales and presenting an overall brand. It is becoming more important in the ever increasingly competitive world of music festivals that an online presence is visually impactful, professionally managed and up-to-date.

There has been a certain amount of turmoil in the music festival industry over the last 3 years. The coronavirus pandemic virtually closed the industry down for 2 years only to emerge into a world of rising costs supplier shortages and an uncertain economic environment. What trends should festival organisers be considering for 2023 to help them ride these storms.

The music festival aftermovie is quite standard in the modern era and is expected to be published soon after the event by festival-goers and followers. What can festival organisers do to ensure that they produce and publish a high quality aftermovie in a timely manner once the event has finished.

Every music festival organisation relies on its marketing to promote the event and generate ticket sales. With so many organising entities operating in a seasonal market there is a temptation to limit marketing activity expenditure. How can organisers best use available resources to obtain maximum value for money in their marketing.