Christopher BarrettSuperstruct Entertainment, along with its festivals including Mighty Hoopla and Field Day (pictured), have issued statements in response to a backlash over their connection to private equity firm KKR and its ties to Israel.
One of the world’s biggest festival promoters, Superstruct Entertainment was sold by equity fund owner Providence Equity Partners to KKR for a reported €1.3 billion (£1.1bn) last June.
A number of artists have pulled out of Superstruct-owned forthcoming festivals in response to a campaign highlighting KKR’s links to Israel, including stakes in weapons manufacturing companies and Israeli corporations operating in occupied Palestinian territories. It has included an open letter to Field Day festival that received more than 230 signatures from artists including Brian Eno and Massive Attack’s Robert Del Naja.
In response, Field Day issued a statement that reads, “By partnering with Superstruct Entertainment in April 2023, the future of the festival and its creative and operational independence were secured – the ownership changed but not the ethos. Since then, as has been reported, they have been bought by KKR, of which we had no say in, which has prompted a passionate discussion.
“As a high-profile event operating in a global context, our team, of course, recognises the strength of feeling of the artists involved and the fans who attend. The open letter itself says that this situation is ‘not the choice of Field Day’ and we are sorry that some artists have chosen not to perform at this year’s festival.”
Mighty Hoopla also issued a statement, in which it pointed out that it was not involved in Superstruct’s acquisition by KKR and outlined that “KKR’s unethical investments” directly counter what it stands for as a festival.
Superstruct Entertainment issued the following message to its partners: “Superstruct was founded with the principle that festivals are an essential part of popular culture and one of the most enjoyable and inspiring ways to bring people together.
“Everyone has a right to express their opinion but we are not a political platform, we are just fans of music and we love what we do. So do the thousands of people that come to our festivals and those who rely on us for their income – riggers, stage builders, dancers, vendors, security guards and all the people who work with us everyday. To all of you, we are sorry that it feels like we are becoming the story.
“The last few years since the pandemic have been really tough for all of us in our sector. Organising festivals has never been more complex and the cost of putting on shows has never been higher. We all know of festivals that have gone out of business but we are proud to be able to support our festivals to thrive and flourish.
“Investment provides the entire music industry, not just festivals, with the support needed to achieve the highest standards and best experience that fans and artists rightly expect.
“Our shareholders support this mission, are fully aligned with our values and want to help develop our industry. Without their support we would not be able to provide such a diverse portfolio of festivals.
“Superstruct is independently run, making its own decisions based on what is in the best interests of our fans, artists and colleagues.
“We have always sought to provide artists with the ability to express themselves and share their creativity with millions of new and existing fans. We are concerned about the wellbeing of our staff and we cannot tolerate individuals or groups who pressurise, persecute or seek to unduly influence any fan, artist or colleague.”
Superstruct owns more than a dozen major UK music festivals, as part of a portfolio of more than 80 across 10 countries. Launched by Creamfields festival (cap. 70,000) founder and former Live Nation exec James Barton and Roderik Schlosser in 2017, Superstruct expanded rapidly in recent years, buying up controlling stakes in UK festivals including Y Not (40,000), Bluedot (21,000), Victorious Festival (100,000), Tramlines (40,000), Boardmasters (50,000), NASS (15,000), South West Four (20,000) Truck (10,000) and Kendall Calling (25,000).