Christopher BarrettSziget Festival head of production Tibor Horváth outlines what the return of its founder, and no longer being under the Superstruct umbrella, means for the huge Hungarian event.
One of Europe’s largest festivals, the 85,000-capacity Sziget Festival will run this year for first time since 2017 independent of Superstruct ownership. With its founder Károly Gerendai back at the helm, new investment and a long-term site lease secured, Sziget will return to its home on Budapest’s Óbudai island from 11-15 August. The line up includes Chappell Roan, Charli XCX and Shawn Mendes.
Tibor Horváth
What can you tell me about the reasons for the change of ownership?
I can’t share too much detail, but it was an ongoing conversation last year and by the time we finished the festival, we knew an ownership change was coming. Our founder returned, who I had worked with between 2015 and 2017. The essence of the festival stayed the same throughout the Superstruct years because the vision was already well established. The ownership change hasn’t radically altered how the festival operates – we’re focused on continuity.
Why has the capacity been reduced?
Previously we were around 85,000 per day, but due to regulatory changes we’re now at 65,000 for the main stage area. We felt that reducing that area’s capacity improved comfort and overall experience rather than pushing to maximum numbers. The whole event site’s overall capacity remains 85,000.
I’m told many festivals owned by Superstruct operate relatively autonomously. Was that your experience?
Absolutely. The pre-Superstruct era was the foundation of what Sziget has been over the last few years. With Superstruct, there are certain systems and similarities across festivals, but everyone still operates independently and uniquely. Now, with our founder back, we feel there’s an opportunity to focus even more on what makes Sziget truly distinctive.
From a production point of view, what’s new?
In 2025 we began rebranding areas into what we call districts, the first was the electronic-music focused Delta District – which involved a new venue design. We’re also refreshing the design of several other areas, planning two new stages and putting more emphasis on experience-led elements. The art, theatre and circus venue will be completely reimagined and that will be a major focus.
Production cost inflation has been a huge issue post-pandemic. Has that stabilised in Hungary?
Not fully. Hungary experienced some of the highest inflation rates in Europe and labour costs remain a major challenge. Skilled workers haven’t returned to the industry in full numbers, so we’re still dealing with elevated costs, particularly in staffing.
How are you managing that from a production perspective?
Smart design and smart supplier relationships. We work closely with partners and try to avoid overloading any single supplier, because once subcontracting and extra crews are needed, costs escalate quickly. Using multiple, specialised, suppliers is more labour-intensive for us organisationally, but it’s more cost-effective and sustainable in the long run.
Bird’s eye view of Sziget Festival
With Sziget’s founder Károly Gerendai having returned, has the long-term vision for the event changed?
The goal was for Sziget to sit alongside festivals like Glastonbury as a globally recognised, once-in-a-lifetime experience. We’ve achieved that to a strong degree, but the ambition now is to reinforce it – to make Sziget something people feel they must experience at least once.
Sziget has always been about much more than the music but with artist fees rising so sharply is there an increased focus on the broader event offering?
Experience has always been central, but yes, the focus is increasing. Historically, especially when Sziget was a seven-day festival, we had to give people reasons to explore the site beyond the headline performances. That continued during the Superstruct years and it’s very much back in focus now. Artist costs, logistics and production demands are all increasing. The focus on the wider festival experience is very important, not just on the island but also in the city itself.
The subject of free speech and artist expression at festivals has become a hot topic. How important is that for Sziget, given Hungary’s political landscape?
Openness is the essence of the festival. We’ve consistently spoken out on social issues and created inclusive spaces. Our venue Magic Mirror, for example, has stood for openness for over 15 years. Our The Island of Freedom campaign began in 2017, but the principles go back much further. Winning the Take A Stand award at the European Festival Awards recognised that commitment. We actively encourage dialogue, different opinions and social engagement – it’s fundamental to who we are.
I understand Sziget contributes around €77 million to Budapest’s economy. Is that appreciated by the authorities?
Very much so. During the recent renewal of our rental agreement with the city, economic data showed the scale of our contribution covering everything from tax revenue to accommodation.
Finally, have you noticed changing behaviour and expectations from The Gen Z demographic?
Definitely. Comfort expectations have increased across all age groups. Younger audience members expect higher standards, and many long-term visitors are older now and want the same. We’re seeing more people stay in the city or opt for glamping and pre-pitched accommodation. Traditional camping isn’t disappearing, but it’s slowly declining. People want flexibility, comfort and choice – and offering that is now essential to the festival experience.