Photography: Lauren Louisha
Bad times… September is basically the last month of the year a proper outdoor festival can take place in the UK or northern Europe without losing any body parts to hyperthermia.
Good times… Festival season 2025 is already being planned, curated and negotiated. And if you go about things in a professional way and have something exciting and unique to offer an event, there’s no reason why they wouldn’t discuss the idea of a collaboration with you or your brand.
We’re blessed. Thanks to a chance encounter with the Dubtendo crew at Balter festival when I took it upon myself to film this video, we were offered a takeover at Boomtown within months of launching. Since that unforgettable day where Bou famously stepped up as our secret headliner and we had to literally smuggle him into the site, having a presence at festivals has been a key focus in our operations.
For us it makes sense. On a personal level, festivals have played a massive role in my life since I was eight. Not a year has gone by since then when I haven’t spent a sizeable amount of my summer in the outdoors making silly moves with my body to even sillier noises and calling a tent ‘home’.
Also on a vibe level; 1 More Thing is a festival – we’re here for all genres, we’re here for the people, we’re here despite the growing commercial disparity, entitlement and gentrification happening across all forms of culture. We’re here to be ourselves. We’re here to escape, have fun, take the piss and wear the odd daft hat.
So following the great Boomtown no-brainer of 2022, we doubled down the following summer. Not only did we host a HUGE big top at Balter, we also hosted a night of bassline mayhem and a live radio show at Love Trails, a running and wellness festival in Wales.
This summer, we’ve tripled up. Since May 1 More Thing has hosted takeovers at Shindig, Rampage Open Air, Big Love, Gemfest and Love Trails. Some have been fully programmed by us, others have been curated by the event, others have been a collective b2b and some have been myself performing / broadcasting live. Takeovers aside, I’ve also worked at, DJ’d at, or filmed and documented other independent events such as Neuroheadz Festival, Pojane Festival in Poland and, just last weekend, Melinki’s debut outdoor bash – Four Corners Festival.
Complete with a few festivals as a punter, it’s been a bewilderingly busy summer. Now we’re about to shut it down with our longest and most ambitious takeover so far: Sun And Bass. A HQ for the headsiest of heads, we’ll be celebrating 20 years of Sun And Bass with a daily live streamed show with interviews and tunes for the duration of the festival!
Join us live and direct in San Teodoro on our brand new Twitch channel, our YouTube and Facebook.
Follow us, subscribe and tune in from 12pm – 2pm UK time. Sunday – Friday, September 8 – 13.
Now read on for our insight, advice and thoughts on how to work with festivals yourself next year.
Spoiler: If you’re just imagining big crowds and bigger financial rewards then this article probably won’t give you want you want. As a grassroots platform that favours emergent and alternative talent over mainstream headliners, we tend to work with like-minded independent organisations who have been neck deep in one of the hardest seasons so far. According to a study by the Association Of Independent Festivals, almost 50 festivals in the UK alone cancelled or postponed this year… 94% of which were independently owned.
The excruciating rise in all things cozzy livs is a brutal contributor to the tragic festival closures we’ve seen this year. Big Love booker Kaptin Barret confirmed this on the site a few months back. “The cost of everything doubling and tripling but wanting to keep it affordable,” he explains about the biggest challenges festivals face. “You can’t pass all the costs on to the punter because they can’t afford it. It shouldn’t break the bank to have fun and that’s the struggle. The rest of it is a walk in the park compared to that.”
There have been other challenging influences besides the fact that most of us have less disposable income than any other generation since the 90s. This includes the change of habits of festival goers post-lockdown, and the virulent dominance of mainstream live entertainment brands who have cornered a huge proportion of the market and talent with exclusivity deals and greedy commercial tactics as seen with this week’s obscene Oasis ticket sham.
Independent festivals need support and collaboration now more than they ever have. Spending a lot of time working, played and raving with them over the years in all kinds of capacities, I’ve noticed that most of the smaller festivals (certainly always the under 5,000 capacity ones) are run by groups of friends, extended family members and many volunteers working round the clock and mates rates being begged. These festivals exist because of the desire to put on a host a unique and beautiful moment of pure escapism for people, not because they make sense on a spreadsheet.
If you share that desire and you want to contribute to that and help it become a more robust and thriving culture for generations to come, then read on and start to think about how you could collaborate with an event…
In such a challenging field, independent festivals are always open to new ideas and applications that might give them something fresh or exciting for their audience, or help them promote to new audiences. It might take a few years of discussions, it might end up being a different collaboration to what you had in mind, but good creative events are always up for exploring ideas.
Be you a collective, a label, an event brand, a dance troupe, a streetwear brand, a podcast, a dog grooming company that only beautifies DJs dogs (insert woofers joke here) or even an editorial platform like us, these thoughts and observations apply to anyone who has seen what we’ve done this summer, felt inspired and would like to work with and support festivals in a similar way.
Read up! We’ll see you in a field somewhere next year! (Or Sun And Bass if you’re there!)
Get cracking. Right now!!
Don’t sleep on this. Smart festival bookers and organisers are already plotting things for next summer. Start approaching events as soon as you can and start getting your promotional plans together if you’ve agreed on a collaboration. You can never be too early to plan and schedule.
Don’t spam or self-inflate
Trust us, festivals have seen the worst behaviour imaginable (especially if they’re dealing with agents and managers all day). You and your crew might slay to high heavens but bookers have heard it all before. Keep your ego in the bin and think about how you can work together. You’re essentially pitching yourself to an event; how are they going to benefit from collaborating with you?
Be Patient
After watching Fabio interviewing Calibre at Sun And Bass on a video I had a rare blast of confidence and emailed the organisers telling them 1 More Thing should host an interview zone at their event. That was November 2022. They replied 18 months later. I’d forgotten I’d even approached them in the first place. These things take time. Especially when you’re dealing with annual events that are planned so far in advance.
What is it you want to do?
In our Dubtendo documentary last month, Mario gaffer Kirk Holland explained how they “just wanted a way to get into festivals for free.” That mission has led to a phenomenon that draws festival crowds to roadblock standstill. Something unimaginable to them 12 years ago when they launched.
Another phenomenon this year has been The Council Of Bens, a group of Bens who all meet through Wuuv at Boomtown last year. This year they hosted a number of takeovers at the event.
From the silliest of ideas, come the freshest of results. Before you hit up any festival think about what it is you want to do and how you’re going to do it. Even if you’re essentially after a stage takeover or some branding, how are you doing to do it differently?
For us, content is a major part of any appeal we have to collaborators. Having a full media team at Rampage Open Air gave our stage a different edge to any of the others and created a strong link with the artists Rampage had curated for our stage.
Multiple presenters, sound tech, photography, videography. Dream team (interviewing a dreamy team)Where’s a different space?
Some of the most interesting festivals celebrate more than one culture or pursuit and these can be spaces open to collaboration and ideas. Whether it’s an ale or food festival, more artsy family-friendly ones, a literature festival or event sports, the clientele there may well also like a bit of a bop at night.
Take Love Trails. They fuse running, wellness and music and boasts a beautiful crowd that trains hard and parties with the same level of discipline. For the last two years we’ve worked with them and provided sounds both on the mainstage and in the dance tent. Our link came about through our Welsh music podcast Cwm Dancing and we were able to provide a special soundtrack and line-up of domestic artists that enhanced their Welsh locale. In return we carved our own space at a unique festival which isn’t even on the typical raver’s radar.
Loads of runners warming up in front of the main stage as we played a morning set.
Communicate clearly
If you’re in touch with a festival and things are moving in the right direction, keep up to date records and note everything you’ve discussed, agreed and planned. Budgets, fees, responsibilities, logistics, riders, technical spec. Keep a note of it all and summarise everything in an email after any conversation.
Imagine a line-up of over 100 artists and 10 takeover brands… There’s usually one or two people managing all of that, or a very small team at the most. Don’t expect an organizer to remember every request or action everything you’d spoken about instantly. Similarly, if you’re running a brand or any type of DIY operation you’ll understand just how hectic their schedule is and they’ll respect where you’re at.
It should go without saying that if you’ve agreed any fees or expenses arrangements to get that in writing. And…er… actually answer your DMs! Murdock had hit me up personally about our Rampage Open Air takeover months before we eventually started talking. I’d not seen his messages and we almost lost that link entirely.
Promo promo promo
Promo. And more promo. Did we say promo? If you’re collaborating with an event then make this work. Really dig your teeth into the story of it all. For us that includes interviews with line-up artists, video and podcast support as well as social media posts.
Highlight the festival’s vibe and story and tell the world why that’s important. Even if you are doing a takeover and it’s a relatively straight cut exercise in branding, you can still make that really exciting and feel meaningful.
If I had more hours in the day and more resources and budget then we’d have done 10 times more promo on each event we’ve collaborated with. Not necessarily just to help ticket sales (although that’s obviously a major win if that does happen) but to really celebrate the collaboration and shout about it for all its worth.
Respect the advancing system
Get to know this term. Advancing is the process of making sure an artist or brand knows what they’re doing and has everything they need ahead of arrival. Tech rider, refreshment rider, guestlist, branding for stage visuals, contacts, emergency contacts, car registration number, parking pass info, allergies, mum’s maiden name, favourite episode of The Simpsons etc etc.
Every festival has a different advancing system that can range from a bespoke website to an email with a few questions. They will all come with a deadline which needs to be adhered to. Make sure you have all the info ready and send it as early as you can.
Branding
Get your branding out there. That’s why you’re collaborating. Make sure the world can see your logo and know you’re involved. When agreeing the takeover with the event ask where your branding can go and how it can be used. They’re a brand themselves and they get it. Be sure to have high res assets and graphics ready and have them in your inbox too in case a tech guy needs them on the night due to a failure or miscommunication. My biggest regret this year is not taking our banner to Big Love. Thankfully Glitchgirl came to the rescue and drew us a logo on the graffiti wall next to our stage…
The first hour or two is always shit!
Always! Whether you’re raving, working, performing, volunteering… Every single festival starts with a few shitty, frustrating hours. You’re either lugging loads of kit, or trying to find your contact, or sort your accreditation or payment or access. There are SO MANY factors in between you and whatever the hell it is you need to be doing and it’s often to the backdrop of no phone coverage. Bear with it. Everyone feels the same. And things always settle eventually.
Make friends with the staff
Especially the stage manager, the tech crew and the security. Introduce yourself, get them coffees, offer them snacks, ask how you can help them. These are the cats thanklessly holding festivals together (and they’re almost always sober and responsive) Secondly, if things get hectic or you need help with an artist requirement, you need to get a friend backstage, or some branding isn’t showing in the visuals or any type of scenario, they’re far more likely to help you and do you a favour.
Prepare for all weathers
Obvs.
Prepare for your people
Events have a responsibility to feed you and make sure you’re safe on site but it’s wise to come packing as many supplies as you can if you’re rolling with a team. Food, water, snacks, sun tan lotion, paracetamol, earplugs. Have somewhere to lock valuables (your car is usually the best lock-up if you’re driving) If it’s your brand and you have people volunteering to help then make sure they have everything they need in return to feel safe, healthy, happy and appreciated.
Itinerary and list the hell out of everything
I’ve lost cameras, camera batteries, USBs, SD cards, leads, phone chargers, hoodies and travel documents on almost every continent over the years. I’ve also lost hours and hours trying to navigate new places and pick up people. Don’t be like me. Always check and re-check map details thoroughly and plan your journey. Detail everything and list all the kit you’re taking.
Keep it as sober as possible
Just because you can get away with all kinds of buzzy things at a festival (let’s be honest), it doesn’t mean you should. Yes, the scene is rife with cocaine rot and widespread booze reliance, too many DJs have ostentatious riders too, but that’s a different conversation altogether. However you deal with social relaxants, do keep it as straight as you can and you’ll reap many benefits including no hangover and way more meaningful conversations and link-ups backstage and with your team, artists and collaborators.
The big commercial festivals have incredibly strict no-booze policies for any workers and while the independent events aren’t quite as strict with staff enjoying themselves off-shift, you’re best advised to keep the naughties at home (especially with the next point in mind)
Think on your feet
You wanna be billy big top? How about when the stage manager hands you his headset and tells you to stage manage while they fight a fire elsewhere on site? Or a DJ turns up late and you need to ask the one billed later to play early? Or when a stage manager looks you in the eye and tells you there’s a 75% chance your stage is going to get closed because of the weather? Or when a friend calls you in a panic two minutes before your set and tells you his guest ticket has already been bleeped through and he’s stuck outside. These have all happened in our short journey so far. Intense situations require quick solutions. Be prepared to act smart and sharp regardless of how much sleep you’ve not had and how frazzled or overstimulated you are.
Document it
If you’re not documenting it and using that content as promo then why are you doing this? Film it, take pictures, take as many selfies as you can and record it all for posterity/social media content/historical importance. Even if you don’t use it immediately, you can post it on the 6 month anniversary, a year, five years. Record it, archive it and make sure you never forget it…. (or the bits you don’t miss)
Be prepared to miss some great bits
Talk to any promoter or event organizer and they’ll tell you the same; they spend days, weeks, months planning their event and will catch perhaps a few songs of each act if they’re lucky. Festivals from the other side of the stage aren’t anywhere near as glamorous as people imagine and not matter how sick your line-up is, you’re not going to catch anywhere near as much as you want to.
Budget tightly
So far this is how it’s gone down… At best we’ve come away from a takeover with a few hundred quid in our pocket, at worst we’re down a few hundred because we’ve invested in kit and promo. These figures are a drop in the ocean, however, when you compare it to the high risk world of festival promotion where organisers can lose hundreds of thousands if things don’t go to plan. As we’ve said, this definitely not a money thing. So keep your budget tight. For example we drove to Rampage Open Air which was half the price of a flight and allowed us to bring a whole car load of crew over instead of just one person. (Watch out for our Roadtrip To Rampage documentary coming up later this year)
Be prepared for highs and lows
Between May and July I worked at so many events, I would regularly misplace the name of the festival I was at and some memories of each rave are merging into each other. Literally as I type. Weekends would begin on Thursday or Friday and sometimes end as late as Monday. I drove well over 3000 miles and counted just two out of 20 weekend nights where I slept in my own bed during this time.
This is typical for anyone working in events, especially during summer, but it’s often balanced with a little time off in the week. Unfortunately – just as DJs have to get back to jobs or studio commitments – running 1 More Thing, having other freelance gigs, and being ridiculously over-ambitious with my plans and expectations meant that I didn’t have any time off during this time.
I love every aspect of what I do for a living almost too much, but I missed my family for almost half of every week and spent the other half working epic hours in my office trying to keep on top of things. This is intense and there were times when the situation really burnt me emotionally and caused stronger levels of anxiety than I’m usually used to.
Life on the road is not healthy. Even while doing most of this largely sober and eating as well as possible, there were still big boozy and wavey distractions, my burger count was higher than it should be and the lack of time in the week has knocked back any type of gym training, which I’ve yet to get back on top of over a month later. As a result I’ve put on at least 5KG.
That’s the reality and it needs to be acknowledged because in the digital world where only the shiny, sexy and funny bits are on show. But would I trade this summer in for anything? No chance. We’ve come together as a team, we’ve made some amazing friends along the way, we’ve learnt so much and heard so much incredible music… There is no doubt that more of the world knows about 1 More Thing because of our festival presence, we’ve been able to provide a whole load of artists sets and we have enough sick footage to blast us into summer 2025 when I hope, as a brand, we can develop our creative collaborations even more.
Huge thanks to all events we’ve worked with this year. Love to all promoters, artists, festival staff, burger van folk and everyone else we’ve spent time in fields with this summer. If you would like the sound of 1 More Thing at your event in any type of capacity from takeovers to broadcasting to backstage vibe spreading, we are open to all ideas and really enjoy doing these capers.
Hit us: yo@1-more-think.co.uk
