2025: equally challenging, increasingly political, yet still deeply impactful chapter for promoters, organisers, venues and artists across the globe.
Economic pressure has continued to batter independent festivals and live events, while global conflict and politics have opened up conversations and action at every level.
Resilience is frequently the word that springs to mind in end of year reflections, as we continue to fight to keep festivals and events thriving.
Amid the highs and lows, there are some clear takeaways we can take into 2026.
Our industry will bend over backwards to make it happen
If there was ever a moment that captured the resilience of event professionals, it was at this year’s Tomorrowland.
Having a main stage destroyed just hours before opening doors is any organiser’s worst nightmare, let alone when 200,000 festival-goers are on en route. What followed was a remarkable display of determination to deliver for audiences, and with great success, as Metallica’s loaned parts of their stage to offer an alternative but equally impressive show for attendees.
Stories like this remind us why live events matter, and why the people behind them are so important.
But sometimes, it simply isn’t achievable
For all the talk of resilience, there are limits. In the UK alone, at least 40 festivals have been lost this year. These most cases, these events didn’t fail for lack of passion, vision or audience demand, they failed because the economic reality made delivery impossible.
Despite repeated promises of certainty, stability and “long-term growth”, the November budget delivered yet another set of measures that squeeze SMEs while offering no meaningful relief. For those operating in festivals and live events, the frustration is particularly acute.
The UK continues to use music and live events as a global marketing tool – celebrating their cultural and economic value – yet remains unwilling to provide the level of structural support required to sustain them.
Meanwhile, other countries are stepping up. Take the Australia government, for example, where more than 100 festivals will receive federal funding from the government to keep them afloat.
The UK can remain a world leader in festivals and live events, but not without urgent and targeted investment.
At The Fair and across We Group , our teams are keen to continue this conversation at the Night Time Industries Association‘s NTE Summit, where I’ll be chairing a panel focused on the state of the independent sector – exploring both the challenges we face, and the solutions required to protect it.
More info: The Fair’s Stage at Day One – Night Time Economy Summit 2026
Audience wants and needs are evolving in all directions
While organisers navigate rising costs, they also continue to keep up with rapid changes in audiences.
We’re seeing:
- Continued growth in premium and boutique experiences at festivals
- Increased capacity for wellness spaces at music festivals
- A rise in solo attendees and older audiences treating festivals as shared cultural moments
- Increased demand for and use of tech-enhanced environments (see Polygon LIVE above, the UK’s largest open-air 360 spatial audio experience which our teams were proud to support in May)
- Stronger expectations around sustainability, transparency and environmental responsibility, with 67% saying sustainability impacts their ticket choices
- More families enjoy festivals (73% say festivals are better than family trips for introducing children to new cultures and experiences)
Global politics is reshaping cultural spaces
The impact of global conflict on our industry has been profound, and in many cases unprecedented.
Boycotts, protests, public statements and internal debates have played out across festivals, venues and touring cycles. Questions around freedom of speech, corporate ownership and ethical responsibility are no longer peripheral – they sit at the centre of cultural programming.
This is a politically sensitive but vital conversation. Culture does not exist in a vacuum, and as global politics and social tensions intensify, festivals and events are increasingly being asked to take a stance.
We’ll be unpacking this further at The Fair’s stage at NTE Summit in February, exploring the complex relationship between culture and politics, and what responsibility looks like in practice.
More info: The Fair’s Stage at Day One – Night Time Economy Summit 2026
The road remains rocky, but not without promise
With costs rising and consistent support still lacking, 2026 is unlikely to be an easier year for the sector.
That said, there are glimmers of progress. The UK government’s £30 million, three-year package announced in June – supporting grassroots venues and extending the Music Export Growth Scheme – was a welcome step. Programmes like this matter, particularly for SMEs trying to survive while continuing to innovate.
As Chair of UKEVENTS (Org) Glenn Bowdin said, this uplift “underlines the resilience and adaptability of our industry.”
“Events are not just economic drivers – they are catalysts for trade, innovation, and social cohesion and showcase the UK on a global stage,” he added.
But the industry – particularly independents – cannot continue to do this alone. If we want culture to continue thriving in this way, we must keep pushing for broader, long-term support across the entire ecosystem.
Resilience can’t be the only plan. Organisers will continue to adapt, react and work relentlessly to deliver the best possible events for audiences, but if governments want the cultural and economic benefits this industry provides to continue, they need to step up and play their part.
