theguardian.com
Laneway Festival's 20th Anniversary: Social Media's Impact and the Future of Live Music
Charli XCX headlined the sold-out 20th anniversary of the St Jerome's Laneway Festival in Brisbane, showcasing a diverse lineup influenced by social media trends, amidst a decline in similar Australian festivals.
- How did social media influence audience engagement and the overall musical selection at the festival?
- Laneway Festival's evolution from a small boutique event to a large-scale festival demonstrates the changing dynamics of the Australian live music scene. The festival's incorporation of current online trends, like TikTok viral sounds, highlights the impact of social media on music consumption and audience interaction. This shift from fostering discovery of smaller artists to showcasing established acts reflects broader industry changes.
- What is the overall significance of Laneway Festival's continued success in a shrinking Australian live music landscape?
- The 20th Laneway Festival in Brisbane, headlined by Charli XCX, sold out, showcasing the festival's continued success despite a decline in similar Australian events. The festival featured a diverse lineup reflecting current online trends, with social media significantly impacting audience engagement, particularly noticeable during Djo's set.
- What are the potential long-term implications of the festival's reliance on current online trends and established acts for its programming?
- The festival's success suggests a resilient demand for live music experiences, particularly among younger generations. However, the heavy reliance on social media trends raises questions about the long-term sustainability of this model and the potential homogenization of musical tastes. Future iterations of Laneway, and similar festivals, will need to balance the appeal of established acts with opportunities to showcase emerging talent.
Cognitive Concepts
Framing Bias
The framing centers heavily on Charli XCX's performance and the festival's shift towards larger-scale popularity. The headline itself highlights Charli XCX and positions the festival as a victory lap for her, potentially overshadowing other aspects of the event. The narrative frequently uses language that suggests a nostalgic idealization of Laneway's past, creating a sense of loss or decline. The description of the festival's evolution from a 'small boutique event' to a 'festival for the masses' could be interpreted negatively, even though mass appeal isn't inherently bad.
Language Bias
The language used, while generally descriptive, sometimes employs subjective terms. For instance, describing the crowd's response to Djo as 'muted' is an interpretation. Phrases like 'jarring to witness,' and 'passe' reflect opinions rather than objective observations. The repeated use of 'victory lap' to describe both Charli XCX's and Laneway's success may be interpreted as subtly biased toward a celebratory and positive perspective.
Bias by Omission
The review focuses heavily on the performance and popularity of specific artists, particularly Charli XCX, potentially neglecting a detailed look at other artists' performances or the overall festival experience beyond the headliners. While mentioning smaller acts, the analysis lacks depth regarding their impact or reception. The omission of discussions surrounding ticketing, logistics, or audience demographics might limit a comprehensive understanding of the festival.
False Dichotomy
The article presents a somewhat false dichotomy by contrasting the 'boutique' nature of Laneway's past with its current 'festival for the masses' status. This implies a negative judgment on its growth and popularity, overlooking the potential benefits of increased accessibility or a broader appeal. The article also implicitly contrasts the older generation's music appreciation with that of Gen Z's TikTok-influenced approach, without acknowledging potential common ground or shared aspects of musical enjoyment.
Gender Bias
The review mentions several female artists (Charli XCX, Clairo, Beabadoobee, Olivia Dean) alongside male artists, suggesting a reasonably balanced gender representation. The description of the artists tends to focus on their musical styles and performances rather than gender-specific details, although the language used to describe Clairo's performance ('charming') might be considered more conventionally feminine.
Sustainable Development Goals
The article highlights the Laneway Festival, showcasing its growth from a small event to a large-scale festival attracting tens of thousands. This growth, while potentially diluting its initial character, suggests increased accessibility to cultural events for a wider range of people, potentially reducing inequalities in access to entertainment and cultural experiences. The diverse range of musical acts further contributes to inclusivity.