Festivus For The Rest Of Us: Festival Agents On The 2025 Season (Survey)

As a continuation of Pollstar’s 2025 festival coverage we reached out to several agents to get their take on this year’s fest season. The festival world has faced a plethora of challenges in the last few years, including the higher cost of production, climate-related tribulations and economic woes affecting ticket buyers’ wallets, with an estimated 90 events called off in 2024 for a variety of reasons. But there’s still nothing like a music festival, from getting to see tons of your favorite bands in one weekend, the chance for artist discovery and the overall communal, joyful vibe of enjoying good music outdoors with thousands of your new best friends. And there are lots of new festivals continuing to be announced in 2025 including Up In The Sky Music Festival in Aspen, Colorado (produced by Belly Up Aspen in partnership with C3 Presents, with headline performances by Rüfüs Du Sol and Kacey Musgraves) and Biscuits & Banjos Festival in Durham, North Carolina (curated by Grammy and Pulitzer Prize-winning artist Rhiannon Giddens). There’s lots to chat about from the agency’s side, including overall trends, offers and negotiations and their favorite festivals.  

SURVEY PARTICIPANTS:

Jesse Fayne
Vice President of International Festivals | Wasserman Music

Lindsey Myers
Agent | Creative Artists Agency

Dave Rowan
Agent | High Road Touring

Grace Stern
Agent | WME

David Strunk
Co-Head Festivals & Music Agent | United Talent Agency

Marsha Vlasic
Vice-Chair Of The Music Division | Independent Artist Group

In a general sense, what trends are you seeing at festivals in 2025?

Wasserman Music’s Jesse Fayne: European festival promoters are becoming increasingly selective about the acts they book. In today’s tumultuous festival market, they’re evaluating multiple factors: an artist’s market value, streaming numbers, alignment with the festival’s identity, last performance in the marketplace, and whether the artist is on an album cycle. Festival slots are limited, and with many buyers now favoring domestic acts, we have to continue to tailor our list of ideas specifically for each festival.

CAA’s Lindsey Myers: The rise of female pop continues to dominate 2025, and we see no signs of that slowing down for 2026. With our clients like Sabrina Carpenter and Gracie Abrams at the top of the Lollapalooza lineup and Lady Gaga, Missy Elliot, and Charli XCX heading up Coachella this year, female acts are reigning supreme.  

We’re also seeing a resurgence in rock acts and rock festivals overall.  Deftones had an unbelievable set at Lolla last year,  Korn is poised to do the same as one of the headliners at Lolla in ‘25, and Green Day is one of the headliners at Coachella this year, to name a few.  Our clients are dominating rock festivals like Shaky Knees, where we have all three headliners in Deftones, My Chemical Romance, and blink-182; Sea.Hear.Now, where we have two of the three headliners in Green Day and Fallout Boy; or When We Were Young, where we have both headliners with Panic! At the Disco and blink-182.

High Road’s Dave Rowan: In the current environment the costs are too high and risk too great to try and start another giant festival, so promoters have been smart about identifying underserved markets and starting mid-level (or sometimes smaller) events in the last few years, to great success. There has also been a proliferation of artist-driven festivals in that same time period – outside of the destination format – which gives artists an opportunity to create different and unique experiences for their audiences, which is exciting.

WME’s Grace Stern: Smaller capacity, genre-specific festivals have continued to do well for the last several years. It creates an opportunity for fans to see all their favorite acts in one place. Artist-curated events also seem to be trending upwards—I think it’s fun for fans to buy a ticket to their favorite artist’s festival and learn about that artist’s favorite music. These festivals foster a great sense of community, music discovery, and super fandom.

UTA’s David Strunk: Festivals have continued to diversify, embarking far more progressively into country. Additionally, over the past few years, the growing absence of “go-to” headliners are now being replaced by a new generation of talent.

IAG’s Marsha Vlasic: Seems to be lots of women!!!!! Thank goodness…. Olivia Rodrigo has Gov Ball, Sabrina Carpenter, Gracie Abrams and Doechii all have Lolla, Megan Maroney is at Boston Calling, just to name a few. Country also has been incorporated with some of the rock Festivals. Luke Combs is at Boston Calling and Lolla.  Thankfully, Cage The Elephant, Jack White, Lumineers, Fall Out Boy and Green Day are still holding up the rock world!!!

How are you balancing booking festival appearances versus tour dates for your artists with radius clauses, traffic and competition for venue holds?

Wasserman Music’s Fayne: This varies case by case for every artist.  For example, we strategically booked a major market UK / EU tour for Knocked Loose in March of this year.  This allowed us to go back into the market for a summer festival run, where we targeted both rock festivals and crossover contemporary festivals.  We now have a band that has notable sellout business across the UK / EU and is about to perform across several A-level festivals, including Roskilde, Provinssi, Hellfest, and their first UK festival headline performance at Outbreak (Manchester).

CAA’s Myers: We have always booked our clients with an eye towards long-term strategy.  At CAA, we have the ability to access an incredible amount of data and analytics to determine when the best time to headline a market is vs the right time to go after a festival play.  We have established lengthy and trusted relationships with our festival partners to collaborate across this conversation and really leverage the best moment for both parties and get a win for both the artist and festival.  

High Road’s Rowan: I think the accessibility audiences have to music and the many pathways to discovery have enabled a proliferation of touring artists. With so many artists on the road it feels like we are seeking some semblance of clarity as to how everything fits as we move forward, and what is ultimately sustainable. There is a significant amount of traffic out there, but on some level the balance has not changed much. I would invert this and say that I don’t envy the festival buyers who have to synthesize an enormous amount of information, data, streaming info, etc and decide which matters most to their festival audience and will have the greatest impact in a particular slot.

WME’s Stern: We tend to build out touring plans 12-24 months in advance, and keeping festivals informed of the larger touring strategy is a key part of that process. That way, when festivals are starting to conceptualize their lineups and gathering preliminary artist availability, they already know who will be out and working, who has new music coming out, etc. We work alongside our festival partners to find the right slots for artists that can bolster their careers and put them in front of the right audiences. In terms of traffic, we are constantly having conversations with promoters and other agents to make sure we aren’t booking competing shows on top of each other/on top of festivals. It requires a lot of triple checking, and many, many excel grids (I didn’t earn the plaque on my desk that says “spreadsheet guru” for nothing!)

UTA’s Strunk: Every artist has a different touring strategy, and every festival offers something different to the artist. This varies from “the look” to diversifying their touring portfolio, down to just finances. There’s also niche and genre-based festivals that may offer something unique to the fan or artist experience. In any case, virtually every artist has some sort of festival plan hovering around their headline strategy.

IAG’s Vlasic: It’s not easy. You have to sit with a map and radius clauses and figure out which way to go when the acts are high up on the bill. The hold status is an entirely different story when you finally target a venue and city.

Last year it seemed like country music had a great year at festivals, are you seeing that continue this year? What genres do you see doing well or not so well overall this year?

Wasserman Music’s Fayne: The country music festival scene in the EU has been growing steadily over the past decade, though it’s still not as prominent as in the United States.  

CAA’s Myers: The allure of the country market continues to be strong in the festival landscape. However, we’re seeing that move in both directions.  Not only are we seeing country acts play mainstream festivals, but we’re seeing acts that are more mainstream want to play historically country events. From our clients like Post Malone headlining Houston Rodeo, to Nickleback playing Stagecoach last year, and Lana Del Rey and Sammy Hagar headlining Palomino stage this year, to Shaboozey being the first act to play both Lasso and Osheaga in Montreal, more and more acts are wanting to play both sides and access a larger fan base.  

We’re also seeing more country festivals pop up in the last few years, like Two Step, Country Calling, Extra Innings, Lasso, and more. 

High Road’s Rowan: It’s hard to say as I don’t live in the mainstream country world particularly. I think any well booked festival that appeals to a specific genre will have success if it resonates with that audience. Fairly obvious answer I guess but booking a festival is a complicated job and sometimes the pieces come together in such a way that its undeniable.

WME’s Stern: Yes, absolutely. Country / left-of-center Country / Americana festivals continue to do incredibly well. The country genre has always revolved around great songwriting, and it seems like fans are gravitating towards that more than ever. Artists like Zach Bryan and Kacey Musgraves have really paved the way for country-leaning artists to crossover into the mainstream pop space, and have proven that genres know no bounds – it’s exciting!

UTA’s Strunk: Festivals will continue to diversify towards what fans want to see.  Over the last decade, festivals have expanded to Pop, Latin, and Country and continue to expand across varied genres.  Fans want to see these genres, so festivals will follow suit.

IAG’s Vlasic: Yes I think so. Sturgill, Luke Combs and Megan Maroney are doing great this year as well just to name a few. I wish guitar rock would come back stronger, but I have faith. 

In terms of booking fests with a mixed economy and uncertain demand, how are the offers and negotiations this year?

Wasserman Music’s Fayne: Same as my response to the first question!

CAA’s Myers: As the economy bobs and weaves, one thing remains true and that is that fans are drawn to artists with an authentic point of view, acts who are uniquely themselves, and artists that create a community of joy and celebration. We’ve seen this in the rise of clients Gracie Abrams, Tate McRae, Charli XCX, Jelly Roll, Koe Wetzel, Post Malone, TwentyOne Pilots, Cody Johnson, Feid, and more, all who are garnering top line headliner slots at major festivals and are continuing to do so into 2026.  

To go back to the rock conversation, we are seeing that many of our rock festivals that have clients like Slipknot, Deftones, or Korn headlining are having their best years historically in terms of sales.

High Road’s Rowan: Same as it ever was I think. If the buyer wants an artist on their festival badly enough, these elements are somewhat mitigated. If there are 50 great bands who could all work in the same slot, it’s a different conversation to have yours stand out.

WME’s Stern: Touring expenses have increased tremendously for artists, as have production expenses for festivals, so it’s a balance to find what works for everyone without ultimately impacting the festival ticket price. Festivals are getting creative with things like VIP activations to increase additional revenue streams. The conversations are nuanced and often require a lot of creativity to get to a place where everyone feels great.

UTA’s Strunk: Every suggestion an agent makes is in the best interest of our artist’s career. When considering a festival, we need to ensure it aligns both financially and curatorially with the artist, including the festival’s solvency and its likelihood to succeed. This all factors into the offers and negotiations ranging from placement to artist fee – everything needs to be factored. 

IAG’s Vlasic: I am seeing offers coming in more conservatively this year. 

What is your favorite festival and why?

Wasserman Music’s Fayne: All Together Now in Waterford, Ireland. I attended this independent music festival 6 years ago in its inaugural year and knew that they were building something special. It has the mystical wonder of Glastonbury in the back country of Ireland, an incredible multi-genre lineup, and has created a natural brand identity with its consumers. They have just announced a sold-out lineup (30,000 tickets per day) and will continue to grow in the right direction.

CAA’s Myers: Any festivals where I don’t have to hear the words Force Majeure or inclement weather throughout the weekend!

High Road’s Rowan: Well how could I choose any others than my home town festivals here in the Bay Area – Bottle Rock, Outside Lands, and Hardly Strictly Bluegrass. Each is booked by lovely people, in beautiful locations, with incredible artists, and best of all it’s never 100 degrees and humid and I don’t have to sleep in a tent.

WME’s Stern: New Orleans Jazz Festival. I went to Tulane and have been attending the festival since I was 18. It is a true honor to book it with the entire team there. They book great and varied headliners, while also paying tribute to New Orleans’/Louisiana’s culture and heritage. The gospel tent on Sunday morning each weekend is unlike anything l’ve ever experienced. Plus, the festival curfew is 7 p.m., which means you have the entire evening to try all of the delicious food in NOLA!

UTA’s Strunk: I love BottleRock and Bourbon & Beyond – they lean into my tastes artistically.

IAG’s Vlasic: I still like Coachella and Lollapalooza. I like going to Chicago and the desert. Bottle Rock is up there for me too.  

Are there any new festivals debuting you’re excited about?

Wasserman Music’s Fayne: I’m excited about the continued expansion of festivals into the Asia marketplace. You have staple festivals that have been around for decades such as Fuji Rock, Summer Sonic and Pentaport, but there is plenty of room for growth. Lollapalooza India is only in its third year and has sold out both days at 42,500 per day.  Summer Sonic is also expanding into Bangkok for its second year, creating a nice run of festivals in Asia in the late August time frame.

High Road’s Rowan: Haven’t you all heard I am starting a festival called “All Blown Up.” The only bands we’ll have on it are those that have never played a single show but are ‘blowing up’ on social media, and are quoting 4x what they are worth. Tell all your friends!

WME’s Stern: I’ve been super involved in helping book the Marcus King Family Reunion. The event has existed for a few years, but moved to Charleston this year—the lineup is incredible, and there will be some great overlap between the music and Charleston’s food & hospitality scene.

UTA’s Strunk: It was exciting to see Lovin’ Life appear on the map – booking top level national talent right out of the gate.

IAG’s Vlasic: I always look forward to some of the newer festivals that [Goldenvoice’s] Stacie Vee, and Jen Yacoubian create.