While some festivals may be facing a growing-up period if they are to be considered a serious media, natural human nature dictates that they aren’t going to go away. But how do we make sure consumers still continue to be accepting of brand 'clutter' as they party the long summer days away in fields up and down the country? Pete Roythorne continues his investigation.
 
With at least one festival every weekend throughout the summer, you’d be forgiven for thinking that maybe we were inundated with the things and perhaps the market had reached saturation point. However, as we discovered last week, brands are still queuing up for the privilege of being associated with a lot of them, and it’s still seen as a great way to put your brand in front of your consumers… providing your brand is relevant in that setting and enhances people’s experience at the event.

And this really is where the problems start. Jonathan Emmins, managing director of Amplify, believes the market is indeed cluttered. “I think it's fair to say you saw a number of consumers scratching their heads trying to work out why some brands were invading their festivals this year,” he says. “Take Sloggi's at the V Festival. Surely this was an activity better suited to mainstream clubs or close to point of purchase? Then there was the Superdrug bus at SW4. I'm sure these festival-goers were interested in drugs, but of a completely different kind.”
 
The reality is that each festival will attract a different type of consumer, and if a brand’s consumer profile matches this, then it’s going to have value to them.

Nice fit: Sloggi at V may have looked nice, but is it strictly relevant

Horses for courses
“There are so many different types of festivals – mass market ones, small ones, secret garden versions – each has a different market and provides a different experience,” says Alison Berkani, head of event production – experiential at exposure. “Some are niche, some are big experiences. As long as they have point of difference or have credibility then there is a rationale for their existence. It’s important that a festival moves with the times and understands the festival goers requirements.”

And although there are some festival organisers that will seemingly take anyone providing they are prepared to pay, the best festivals will always be choosy about which brands they work with and ensure that their activities fit with the heritage of the event and do not end up over cluttering the landscape. But third-party involvement in sales has been clouding the market more recently. 

“The trend towards festivals using external companies to sell site space has led to an increased disconnect between sales patter and logistical and organisational realities on the ground,” explains Claire Stokes, managing director of Circle Agency. “Like shopping centres, the larger festival producers who choose to keep sales in-house are able to provide a better and more comprehensive package to brands.”
 
But have consumers become immune to brand activity at festivals? Probably not, if they did they would certainly start voting with their feet and there is no sign this is happening.

One major contributing factor to this may well be the fact that consumers accept that brand involvement within festivals is a necessary evil, which provides, among other things, a better line up of bands. As long as brands add to the overall experience, then consumers are usually pretty accepting. But that doesn’t mean brands should take things for granted in this setting.

Working harder for the consumer
"Consumers are smart and becoming ever more commercially savvy. Brands and organisers must ensure that they don’t dumb down their audience or consider them in too general terms,” says Francesca Heap, sponsorship manager for the Royal International Air Tattoo. “Consumers can get immune to brand activity if it's not done right and they expect brands to work harder to engage with them. Consumers are bombarded with so many messages that their own internal ‘spam’ filters have gone into overdrive and they will choose to notice only the messages that are personally relevant and timely for their own needs.”

Stokes agrees, saying: “Consumers will always be receptive to a well thought through activation. The trouble is that with more and more festival activity happening, there is more likelihood of poorly executed activities taking place. Activities need to be mindful of the consumer mindset at festivals and play to it. People are not there to shop – they are there to have a good time. If the experience enhances this, then the brand has a chance to engage this market. You cannot simply place your shopping mall activity in a muddy field.” 

So have festivals finally had their day?
 
Here to stay
“No,” opines Berkani, “three million people can’t be wrong. Brands and bands need festivals and the live experience is of crucial importance to the music industry.”

Despite her bad experiences, Stokes echoes these thoughts. “If anything, festivals are here and here to stay," she says. "They grow year on year and will get better by allowing brands to integrate and be part of an authentic experience. Those festivals that recognise and respond to brands’ needs now, will be rewarded with the best brand experiences.”

So it appears the festival lives to breathe another brand and rain soaked year, and no doubt we’ll all be asking the same question this time next year. But as Emmins concludes: “Individual festivals will come and go, but they will remain omnipresent. Mankind has been gathering outdoors together in large groups, dancing, singing, drinking and listening to music since the start of time.”

If brands want to continue to capitalise on these powerful, immotive 'coming-togethers' of consumers, the rules are simple: demonstrate creativity; imagination; strategic planning; high production standards; decent budgets and solid knowledge of the market and the type of activity that suits a festival and its audience.

Do this, and your consumers will be happily dancing to your tune.