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Festival

How ‘The Brit Fest’ Became a Tragic Sign of the Post-Brexit Live Music Industry

The Brit Fest

The announcement of The Brit Fest, the inaugural event celebrating “the best of British”, may have stoked excitement in music fans who don’t need much persuasion to partake in nostalgia, but beyond the surface of the line-up poster, the festival is a tragic symbol of post-Brexit Britain.

With its red, white, and blue iconography all over the festival posters and official website, the festival seems less a celebration and more a British funeral for festivals as we knew them. This event, set against the backdrop of a nation grappling with its identity and economic challenges post-Brexit, stands as a stark reminder of the changes sweeping across the UK.

Clinging to National Pride

In the wake of Brexit, the UK’s economy has taken a significant hit; a recently published report, which came to light in January 2024, revealed that the UK economy is now almost £140 billion smaller as a result of the majority of voters ticking ‘leave’ on their ballot papers following an obscurely deceiving pro-Brexit campaign. This economic downturn has left many Brits searching for a semblance of hope and assurance, clinging to national pride as their last lifeline. The Brit Fest, in this context, is more than just a festival; it’s a desperate grasp at the straws of national identity and pride, a way for people to reassure themselves that leaving the EU was a beneficial move and the democratic decision wasn’t the sole reason for the cost-of-living crisis that is gradually crippling us.

The Struggle of Festival Organisers

The challenges of post-Brexit Britain are not limited to the economy but extend to the cultural sector as well. UK festival organisers are facing a tough time as American headline acts are increasingly shunning UK festivals. This trend is a direct consequence of the economic and logistical complications brought about by Brexit, making the UK a less attractive destination for global artists. The Brit Fest, focusing on homegrown talent, is a response to this new reality, where international acts are harder to secure.

Don’t get me wrong, I’m all for celebrating and championing British artists, but this celebration of cultural alienation is a dystopic stretch too far in our era where everything is a culture war because we’ve got no culture (in the truest definition of the word) left to celebrate. The collective nationalistic flagellation is a worrying symptom of a society grasping at the echoes of a bygone era, mistaking loudness for substance and spectacle for depth. In this clamour, the true essence of artistry – the raw, unvarnished expression of the human condition – is drowned out by the cacophony of jingoistic fervour. It’s as if we’re in an amphitheatre, where the loudest cheer, not the most profound message, wins the day.

A Homage to Nostalgia

Despite its patriotic veneer, The Brit Fest is essentially a homage to nostalgia. Described by The Manc as “a pure throwback”, the festival mostly features a lineup of British artists from years gone by, evoking memories of a different era in British music. This focus on the past highlights a longing for a time before the complexities and uncertainties of the post-Brexit landscape. It’s a celebration of what was, perhaps, in an attempt to escape the realities of what is. If you want to learn more about why people are being drawn to nostalgia like moths to a flame, read our piece on the neurology of nostalgia and the price the music industry pays for it.

The Brit Fest is An Emblem of Stagnancy in the UK Music Industry

With Bonnie Tyler, Scouting for Girls, Kim Wilde, Heather Smalls, Starsailor, Toploader and Dodgy as the biggest acts on the bill at The Brit Fest, the festival poster proves what happens when the music industry becomes stagnant and refuses to let new bands rise to the top.

Even though music fans would be forgiven for thinking that there are no new bands worthy of securing headline festival slots, that is far from the case. The UK music scene is as vibrant and diverse as it has ever been – bands just can’t grab the same slices of global acclaim as their predecessors, and there are multiple reasons behind this depressing phenomenon.

Changes in the Music Industry

The music industry has undergone significant changes in the last few decades. The rise of streaming services and the decline of traditional album sales have altered how artists gain exposure and make money. This shift has impacted bands worldwide, but British bands, which traditionally relied heavily on album sales and extensive radio play, may find these changes particularly challenging.

Globalisation and Diversification of Music

With the advent of the internet and social media, the music market has become more globalized and diversified. Listeners have access to a vast array of music from all over the world, which means that competition is no longer local or even national but global. This increased competition can make it harder for any one group, including British bands, to dominate.

Cultural Shifts

In the past, British bands like The Beatles, The Rolling Stones, and later Oasis, were part of larger cultural movements that had significant international appeal. The cultural shifts of today might not be as conducive to bands playing a central role, or the movements themselves are more fragmented and diverse.

Economic and Logistical Challenges

For new bands, touring and getting exposure can be expensive and logistically challenging. This is particularly true in the post-Brexit era, where touring in Europe, a key market for British bands, has become more complicated and costly due to new regulations and visa requirements.

Media Focus

The media landscape has also changed, with a more fragmented audience and a shift towards reality TV, solo artists, and celebrity culture. Bands might not receive the same level of media attention as they did in the past, making it harder to gain widespread recognition.

Nostalgia and Comparison with the Past

There’s also a factor of nostalgia and the tendency to compare contemporary music unfavourably with the past. The British bands of the 60s, 70s, and 90s set a very high bar, and contemporary bands are often measured against these legends, which can overshadow their achievements.

In conclusion, The Brit Fest, with its nostalgic line-up and patriotic branding, stands as a symbol of the times – a post-Brexit Britain struggling to redefine its identity and place in the world. It’s a festival that is as much about music as it is about the collective psyche of a nation trying to find its footing in a new, uncertain era.

To learn more about how Brexit has impacted the music industry, read our statistical overview of the crushing blow of Brexit on the music industry.

Article by Amelia Vandergast

Brooklyn’s Foreign Saints tells us all about his debut single to pursuit inside, Here With Me

Repping Brooklyn to the max and opening us his heart to guide us inside the emotions within the debut Here With Me, Thomas from Foreign Saints kindly took time out and answered our questions all about the exciting 1st release, the local music scene, and his songwriting process.

Llewelyn: Hello there Thomas from Foreign Saints. Thank you for joining us here on our A&R Factory interview platform. Firstly, we love the name. Please explain to our readers how did it come about on your pursuit and what was the inspiration behind it.

Thomas: Thanks for having me, Lu. The project name is a nod to when I hiked the Camino de Santiago, where the pull of completing a journey named after an arbitrary foreign saint showed me the beauty in the pursuit of something in and of itself. It’s how I hope to approach making music — to make art in a similar pursuit of something outside myself.

Llewelyn: Brooklyn is the city you represent. What does it mean to live there and what is the vibe currently like? Are there lots of new music venues and where would you recommend we check out?

Thomas: I moved to Brooklyn two years ago from my hometown of Charlottesville, Virginia, and have loved it ever since. Obviously, it’s got one of the best music scenes in the world, but beyond that, there’s just so many people here doing cool things in every niche imaginable that it makes any creative endeavor all that more possible. Conversely, it’s easy to feel small when surrounded by the sheer talent of the musicians here, but what an incredible privilege to be a tiny part of it all.

Llewelyn: Please tell us all about your 1st single Here With Me and the upcoming EP?

Thomas: Here With Me is the first song I wrote off the upcoming EP. I wrote it in an afternoon based on a small idea I had at 3am the night before, which (unfortunately for my sleep schedule) is pretty typical of how I start songs. Part of me prefers to keep the meanings of songs a little bit undefined, that way they can exist independent of me and mean different and completely valid things to different people. But what was going through my head when I was writing it was the feeling you get when you first start seeing someone where you’re simultaneously relieved and anxious to have found them. Where you can feel part of yourself becoming wrapped up in someone outside of you, but the irony of them being the relief from that feeling.

Llewelyn: Who is your rock in life and someone who has really pushed you to reach your goals & dreams?

Thomas: I’m immensely grateful to my parents for their l encouragement of my creative pursuits. We spent a good portion of my childhood moving around several countries, and I think them expanding our horizons helped me appreciate more of the world than I ever could have. My dad was my first-ever producer, pushing me to write and track songs in his home studio set up from a young age, and introducing me to many of my strongest musical influences.

Llewelyn: Who do you make music for and what is the process like? Do you sit down and make it quite quickly or do you prefer to stew on the creation and let it flow naturally?

Thomas: I’ve always found the process of songwriting difficult to summon on command. Most of my songs start as 3am voice notes of little ideas, that I then quickly try to flesh out while in the right headspace for that song. It’s really difficult for me to let something sit for weeks on end and revisit it later. I’ve found my better songs tend to come out of alternating bursts of frantic writing and overwhelming frustration. It sort of balances out in a weird way.

Llewelyn: What are some perks about being a local musician and the challenges too?

Thomas: I’m just starting to release music, so I haven’t ventured much into the local music scene as a performer. Once I have more of my songs out I’d love to start doing some of the small venues in New York, but one thing at a time!

Listen up to his music come to life via Spotify.

Follow more on his website.

Interview by Llewelyn Screen

Find Your Way: Winchester’s JayetAl are at their imperiously ingenious best on ‘Moonshot’

Released from Strong Recordings UK, JayetAl lights up our curious minds like a match on paraffin with the lead single from their new mini-album ‘Connected‘, on the reach-for-your-dreams ear-shaker called ‘Moonshot‘.

JayetAl is an indie EDM duo who are based in Winchester, UK. They fuse a stunning spark-filled blend of magnificently projected pulsating Post-Rock and ambiance-packed apocalyptic live Electronica into one sound, for your surprised senses to dig deep into like a cheeky cat on a comfy cushion.

Featuring outstanding visuals that gets you in the mood to party all night, this is a terrific track to gather your thoughts so you may reach only upwards. With outstanding solo guitar riffs filled full of easy-to-spot greatness, intriguing vocals which has you listening closer, and a busty beat to get your hands raising only one direction, there is so much to wrap wonderfully into.

Moonshot‘ from the confident and well-respected festival regulars from Winchester, UK named JayetAl, is an EDM party guzzler that will have you taking a strong sip of that electrifying music you really want to bathe happily inside like a foamy dream. This is such a radiant effort that swirls tastily into your music palate, to give you a sense that you have just witnessed something rather special.

Check out this well-made music visual on YouTube and see more on the IG.

Reviewed by Llewelyn Screen

Darrian Gerard broke the pop mould with her pop-punk earworm, ‘Festival’.

Darrian Gerard

If memories of music festivals feel like a lifetime ago, Darrian Gerard’s latest pop-punk single, Festival, will bring them flooding right back as if they were yesterday. Darrian Gerard’s vocals carry the same girl next door vibe as the likes of Taylor Swift and all of the outlier attitude of pop-punk princesses such as Avril Lavigne, expectedly, that’s an instantly infectious and accessible mix.

The Canadian singer-songwriter and multi-instrumentalist also takes influence from Alanis Morissette and Angels and Airwaves, giving her sound a refreshingly dynamic sound that breaks the perfect pop mould with the effect-laden, punchy indie guitars and wholesomely rebellious attitude.

Festival released on June 4th; you can check it out for yourselves via SoundCloud.

Review by Amelia Vandergast