LAWKS! It’s the Next Announcement Thread 2022!

[CaledonianGonzo]

Yes.  But by booking the Stones, Beyonce, U2 and Adele they've betrayed the good old days of Travis and The Stereophonics topping the bill.

[Matt42]

2 minutes ago, CaledonianGonzo said:

Yes.  But by booking the Stones, Beyonce, U2 and Adele they've betrayed the good old days of Travis and The Stereophonics topping the bill.

It’s ok for people who feel very strongly about this there is IOW festival.

[CaledonianGonzo]

Long story short, when will Richard Ashcroft headline again?

[Matt42]

2 minutes ago, CaledonianGonzo said:

Long story short, when will Richard Ashcroft headline again?

Remember the days when we thought he was subbing Adele?

[CaledonianGonzo]

Wete those the days when Adele was subbing Radiohead?

[kalifire]

#makechomps10pagain

[stuie]

[Matt42]

1 minute ago, CaledonianGonzo said:

Wete those the days when Adele was subbing Radiohead?

And D’Angelo

[Hugh Jass II]

Adele subbing because she’s scared of massive crowds is my all time favourite dumb shout on here.

Just as daft was the suggestion a few weeks back that Macca should play daytime as he’s too old to stay up late now.

[CaledonianGonzo]

I remember the corned beef of my Childhood

And the bread that we cut with a knife

When the Children helped with the housework

And the men booked the G not the wife

[blutarsky]

34 minutes ago, stuie said:

Might put this on a flag 

[squirrelarmy]

2 minutes ago, blutarsky said:

Might put this on a flag 

Make sure you wave it around at eye level

[Bucketsquad]

54 minutes ago, CaledonianGonzo said:

Yes.  But by booking the Stones, Beyonce, U2 and Adele they've betrayed the good old days of Travis and The Stereophonics topping the bill.

😂 I was looking at the old lineups yesterday and I had to google to confirm that Travis had actually headlined as I thought no way that happened, needles to say it did.

[Bucketsquad]

3 hours ago, thewayiam said:

And that is exactly the mainstream/over commercial festival this has become and has been for a while now. Ignored it for as long as possible but it's been going to the hashtag rubbish, ignoring anything they aren't interested in since a few years after Emily took over.

It's a sold out festival, they planned to booked acts not based on extra revenue coming in more than normal. Non profit organisation etc etc. Makes no difference at all. 

Could understand if they are awaiting a next ticket hike with an act but they aren't. 

I've been to a canny few festivals and this one is as far removed from commercializsm as you can get.

[stuie]

19 minutes ago, blutarsky said:

Might put this on a flag 

It would need to be quite a big flag, to make sure people can read it nice and clearly at the stages. 

[Smeble]

3 hours ago, Matt42 said:

It’s ok for people who feel very strongly about this there is IOW festival.

IOW has gone the other way though, they have gone from The Stones, Bruce etc to Lewis capaldi and the stereophonics.

[thewayiam]

5 hours ago, David_303 said:

And that’s the paradox. It’s famed for *not* being commercial. Events have to move with the times, I get that - but in my view the only thing that has changed to a tangible degree is social media.

for what it’s worth, my tastes are about as far from commercial as you can get - and there’s plenty there to cater for me.

I admit that it does attract way more idiots these days. 

Yeah but you either like Wireless or listen to 6Music all the time. There is a festival for that called APE and such like.

The festival doesn't have to hashtag, Twitter everything. Book to try and make a statement and give 5 mins less checkout time than a normal ticket.

There was loads of issues with the oxfam etc charities too.

5 hours ago, nikkic said:

I didn’t say I disliked it, I said I couldn’t understand it. 

Oh well

5 hours ago, Hugh Jass II said:

It’s easy to say the festival has become more “commercial” in the last decade or so but that’s just the way society has gone. The days of it just being hippies rolling around in the mud are long over. The festival is now a major commercial enterprise and if anything the organisers deserve credit for at least trying to keep as much of the commercial side out of view of the average punter on site.

Complaining about social media is pointless too, like it or not SM has proliferated every aspect of modern life. So why should GF be any different?

One thing I’ve noticed since Emily has taken over, and I’m not sure if it happened deliberately or organically, is that all the disparate elements and areas of the festival (WH, T&C, Park, etc) have all been given much more autonomy and space to do their own things. They’ve all got their own separate identities to the festival, have their own announcements, social media profiles, etc. I think it’s really good.

The T&C areas etc haven't changed and have always done what they have done.

No one said about it being hippies. The commercial is what they are booking. If they booking all these mainstream acts that kinda have their own place at other festivals then that is the commercial side.

Ticket sales in the resale for example weren't hard to get into, the ticket system was shit. The system is now a cash cow with so limited time they don't care about any disappointment from that. Glastonbury do have a choice about this but they don't bother.

4 hours ago, Matt42 said:

Since Emily took over the festival has managed to get even bigger every year, and probably to a level now where it is the one festival that can pull off lineups that no other festivals can. We’ve got (subjectively imo) a stronger lineup than Coachella, any European festival, and obviously any other UK festival.

Some of the bookings Emily and co made in the 10s catapulted this festival into a realm that no other festival is playing in.

Coachella is a piece of arse now, nothing subjective about it. It is not hard to book a bigger deal than Coachella. That is basically the social media festival. 

4 hours ago, Matt42 said:

It’s ok for people who feel very strongly about this there is IOW festival.

And you come back with a reply post like this? About a festival that now books mostly based on a medium sized festival as they virtually nearly became a non festival at major level.

[Matt42]

@thewayiam I honestly have no idea what you mean.

[Guest]

Some of the moaning, gatekeeping and entitlement in this thread is highly amusing to me. Thanks for the LOLs.

4 hours ago, stuie said:

Love this. Is it legit or a photoshop job?

[stuie]

21 minutes ago, TASHMA BWABWE said:

Love this. Is it legit or a photoshop job?

 

[assorted]

46 minutes ago, thewayiam said:

Ticket sales in the resale for example weren't hard to get into, the ticket system was shit. The system is now a cash cow with so limited time they don't care about any disappointment from that. Glastonbury do have a choice about this but they don't bother.

I’m surprised this is the first time I’m seeing this brought up here.

The resale seems clearly easier to get into based on the near universal success people on this forum had, many saying they hadn’t seen a ticket screen in years who were now successful.

While this is fantastic for those that succeeded (including me, I got 1 more for our group), it’s also a bit surprising that the festival’s fairly obvious pivot to female centered, youth oriented pop over more traditionally loved  bands since the 2020 poster resulted in weaker demand, not greater.

An example of what I mean by what I feel is this obvious pivot:

The Editors, Lightning Seeds, The Specials, Happy Mondays, Goldfrapp, Manic Street Preachers, Thom Yorke were removed...

and were replaced by

Olivia Rodrigo, Doja Cat, Megan Thee Stallion, Lorde, Jessie Ware, Sigrid, Holly Humberstone

The way people here talk about music, you’d think the former were washed up has beens and the latter the most exciting bookings ever, but the fact that everyone saw ticket screens in the resale certainly undermines that idea a bit. While there are possibly more Olivia Rodrigo fans than maybe every act I listed above combined, those fans didn’t seem to be clamoring for Glastonbury tickets in this resale. 

This combines for me with what I saw as a general lack of enthusiasm for the 2022 lineup poster, except among a few forum posters here. Music press normally goes orgiastic at Glastonbury lineups, and this one was fairly muted - and that’s despite music press being the exact kind of people that are supposed to find overt pivots to pop music like this “exciting.” The only reaction I saw was people upset by the lineup getting yelled at by people who told them they were too old, sexist, “stay home,” etc. In other words, the normal sorta culture war social media reaction that happens whenever a corporate product like Star Wars or a superhero movie “goes woke.”

Which is an interesting problem if the festival plans to continue doubling down and releasing lineups that look a bit more like Coachella than they do Glastonbury. (But it still sold out in 20 minutes, so really hardly a problem - it’s just interesting to me).

(And before someone writes to me, “if you don’t like the lineup don’t come,” I have seen the full lineup posters of years past and understand that the festival is much, much larger than this initial poster, and I will have a full weekend of music I like and fun that I am quite looking forward to.)

[henry bear]

6 minutes ago, assorted said:

I’m surprised this is the first time I’m seeing this brought up here.

The resale seems clearly easier to get into based on the near universal success people on this forum had, many saying they hadn’t seen a ticket screen in years who were now successful.

While this is fantastic for those that succeeded (including me, I got 1 more for our group), it’s also a bit surprising that the festival’s fairly obvious pivot to female centered, youth oriented pop over more traditionally loved  bands since the 2020 poster resulted in weaker demand, not greater.

An example of what I mean by what I feel is this obvious pivot:

The Editors, Lightning Seeds, The Specials, Happy Mondays, Goldfrapp, Manic Street Preachers, Thom Yorke were removed...

and were replaced by

Olivia Rodrigo, Doja Cat, Megan Thee Stallion, Lorde, Jessie Ware, Sigrid, Holly Humberstone

The way people here talk about music, you’d think the former were washed up has beens and the latter the most exciting bookings ever, but the fact that everyone saw ticket screens in the resale certainly undermines that idea a bit. While there are possibly more Olivia Rodrigo fans than maybe every act I listed above combined, those fans didn’t seem to be clamoring for Glastonbury tickets in this resale. 

This combines for me with what I saw as a general lack of enthusiasm for the 2022 lineup poster, except among a few forum posters here. Music press normally goes orgiastic at Glastonbury lineups, and this one was fairly muted - and that’s despite music press being the exact kind of people that are supposed to find overt pivots to pop music like this “exciting.” The only reaction I saw was people upset by the lineup getting yelled at by people who told them they were too old, sexist, “stay home,” etc. In other words, the normal sorta culture war social media reaction that happens whenever a corporate product like Star Wars or a superhero movie “goes woke.”

Which is an interesting problem if the festival plans to continue doubling down and releasing lineups that look a bit more like Coachella than they do Glastonbury. (But it still sold out in 20 minutes, so really hardly a problem - it’s just interesting to me).

(And before someone writes to me, “if you don’t like the lineup don’t come,” I have seen the full lineup posters of years past and understand that the festival is much, much larger than this initial poster, and I will have a full weekend of music I like and fun that I am quite looking forward to.)

The festival needs to appeal to young people more so than the likes of me. I can't imagine many people under the age of 40 really wanting to see the likes of the Lightning Seeds, Manics etc.

I can guarantee that following the televising of this year's festival, demand will be huge for 2023

[Matt42]

@assorted while there were a huge amount of people on here successful, there were still some unsuccessful. I tried for some people this year to expand my group and didn’t get anywhere near a booking page.

I think you’re pulling data from a poor sample size.

Edited April 2 by Matt42

[tigger123]

7 minutes ago, Matt42 said:

@assorted while there were a huge amount of people on here successful, there were still some unsuccessful. I tried for some people this year to expand my group and didn’t get anywhere near a booking page.

I think you’re pulling data from a poor sample size.

We had 6 people trying in the main resale, not a sniff of the ticket page for anyone

[gfa]

20 minutes ago, assorted said:

I’m surprised this is the first time I’m seeing this brought up here.

The resale seems clearly easier to get into based on the near universal success people on this forum had, many saying they hadn’t seen a ticket screen in years who were now successful.

While this is fantastic for those that succeeded (including me, I got 1 more for our group), it’s also a bit surprising that the festival’s fairly obvious pivot to female centered, youth oriented pop over more traditionally loved  bands since the 2020 poster resulted in weaker demand, not greater.

An example of what I mean by what I feel is this obvious pivot:

The Editors, Lightning Seeds, The Specials, Happy Mondays, Goldfrapp, Manic Street Preachers, Thom Yorke were removed...

and were replaced by

Olivia Rodrigo, Doja Cat, Megan Thee Stallion, Lorde, Jessie Ware, Sigrid, Holly Humberstone

The way people here talk about music, you’d think the former were washed up has beens and the latter the most exciting bookings ever, but the fact that everyone saw ticket screens in the resale certainly undermines that idea a bit. While there are possibly more Olivia Rodrigo fans than maybe every act I listed above combined, those fans didn’t seem to be clamoring for Glastonbury tickets in this resale. 

This combines for me with what I saw as a general lack of enthusiasm for the 2022 lineup poster, except among a few forum posters here. Music press normally goes orgiastic at Glastonbury lineups, and this one was fairly muted - and that’s despite music press being the exact kind of people that are supposed to find overt pivots to pop music like this “exciting.” The only reaction I saw was people upset by the lineup getting yelled at by people who told them they were too old, sexist, “stay home,” etc. In other words, the normal sorta culture war social media reaction that happens whenever a corporate product like Star Wars or a superhero movie “goes woke.”

Which is an interesting problem if the festival plans to continue doubling down and releasing lineups that look a bit more like Coachella than they do Glastonbury. (But it still sold out in 20 minutes, so really hardly a problem - it’s just interesting to me).

(And before someone writes to me, “if you don’t like the lineup don’t come,” I have seen the full lineup posters of years past and understand that the festival is much, much larger than this initial poster, and I will have a full weekend of music I like and fun that I am quite looking forward to.)

Its too early to jump to the conclusion that demand is down - a lot of people will already have their summer plans locked in. Way more festivals than usual are already sold out this year, so I think its fair to wait until October before properly judging. The spreadsheet was far more organised than 2019s as well some people have mentioned too