Rose Riddell, Head of Content at Laneway 03.04.25

Last month, I travelled across Australia and New Zealand with Laneway Festival 2025, experiencing firsthand the power of live music to bring communities together. As Head of Content at Laneway, I oversee our digital channels - from creating memes for TikTok (on occasion featuring artists; see Beabadoobee dressed up in disguise at the Melbourne show), to working closely with our media team to capture the festival in real time. It’s a dream job - an overwhelming, exhausting, and exhilarating experience each year, but one I’m truly grateful for.

Looking ahead to Laneway’s 21st anniversary in 2026, I’ve been reflecting on how much the festival landscape has evolved, and the future possibilities in this industry. My role likely didn’t exist in 2005—digital media has transformed how festivals engage with audiences and discover talent. Today, acts are booked not only from live showcases like SXSW, but also through streaming and social trends. It’s thrilling to see artists like Charli xcx booked early, only to explode in popularity before the festival—watching thousands sing every word back to her this year was a reminder of why I love this work.

Not to talk about Covid, but it’s undeniable that there has been a huge shift in how music festivals function post-Covid, and this change is still felt in 2025. Festival-goers - and consumers in general - are far more discerning with how they spend their money, and it’s up to festivals to offer an experience that people can’t say no to. We never rest on our laurels or assume that people will buy tickets, and every year look to innovate or re-think how we approach every single aspect of the festival - from how we put tickets on sale, to how we design the festival site's layout, set times, and everything in between.

Looking to the future, I'd love to see music festivals continue to prioritise the fan experience! As a fan-to-music-industry-gal in particular I feel hugely passionate about this. Without the fans, events wouldn't be able to come back year after year. Loyal customers are harder than ever to attain, not just in the music space. Even in our digital content, we love to platform music fans at the festival and put a lot of emphasis in our strategy on communication with our audience - it’s SO important and I think this will only continue. I loved celebrating Valentine’s Day at the Melbourne Festival this year, handing out roses to the first people through the gates, and gifting artists roses to throw into their crowds during their sets (Olivia Dean and Djo did this so cutely).

Beyond fan engagement, there’s global industry challenges that impact festivals. The USD-to-AUD/NZD exchange rate makes booking international artists more expensive than ever, and rising costs—insurance and infrastructure for instance—strain budgets. Meaningful government support for live events would make a significant difference, as we work to balance rising expenses without passing the burden onto fans. Without delving into politics, I think it’s incredibly important for fans of live music to be aware of how local government supports the arts industry - and if that’s something important to you, make it part of your decision making in voting.

As the dust settles from this year’s tour, I’m diving into festival survey results, where fans suggest artists and provide valuable feedback. The best part? Knowing that with every challenge comes an opportunity to evolve—ensuring the future of festivals remains as vibrant and unforgettable as ever.