Keywords

1 Introduction

The festivals and music events industry has experienced significant growth in recent decades, both in Spain and globally. These events serve as a cultural expression that attracts millions of people each year, particularly the young and digitally savvy audience. Music festivals have a positive impact on the tourism development of hosting destinations, enhancing their image, generating socio-economic benefits, and enriching the cultural offerings. However, incorporating new technologies throughout the event lifecycle, from promotion and ticket sales to staging and audience interaction, is necessary for achieving success and attendee satisfaction. Technology can improve the quality, accessibility, and innovation of festivals and music events, enhancing the experience for the predominantly young and digitally native attendees.

According to the Cultural Statistics Yearbook (Ministerio de Educación, Cultura y Deporte, 2022), music events primarily attract a young audience aged between 25 and 34. However, the age range may vary depending on the type and theme of the festival, encompassing a broader market segment. Given that most attendees are digital natives, it is natural for new technologies to increasingly play a part in these events, from accessing information and purchasing tickets to on-site experiences and consumption within the venue, particularly during performances.

This article aims to identify best practices in the use of technology in festivals and music events to enhance tourist destination promotion, optimize dissemination processes, improve consumption and access for attendees, and amplify their overall experience. The study conducts a case study of best practices in technology usage in festivals and music events in Spain based on award-winning technological initiatives. It also evaluates the challenges and directions in the face of the technological paradigm shift posed by the advancement of artificial intelligence. Finally, recommendations are proposed for the festivals and music events sector on offering innovative, applicable, and accessible services using technology, adding value to the festivals and indirectly benefiting the tourist destinations where they are held.

2 Theoretical Review

2.1 Festivals, Musical Events and Tourism

Festivals and events have become integral parts of the tourism product in many destinations (Getz & Page, 2016), attracting visitors and tourists and contributing to the economic and social well-being of the destination. Therefore, they are increasingly included in tourism policies and strategies (Mair & Whitford, 2013). Destination Management Organizations (DMOs) have been investing in the creation and promotion of festivals and music events to enhance the appeal of destinations (Araújo & Domínguez, 2012). These products align with cultural tourism, offering characteristics that meet the current demands and desires of consumers, such as socialization, novelty, prestige, relaxation, intellectual enrichment, and experiential tourism.

Music festivals create a dynamic and fluid soundscape within a specific space, which is the tourist destination, and a short period of time, providing attendees with an opportunity to enjoy and interact not only with the music but also with other visitors (Anderson et al., 2005; Ballantyne et al., 2014). Modern music festivals offer diverse genres and styles, catering to different tastes and preferences, and often incorporate other elements such as art installations, food vendors, and immersive experiences. This multi-dimensional approach contributes to the overall appeal and attractiveness of the festival, attracting a wide range of attendees. In modern festivals, particularly music festivals, a line-up of singers and musical groups is organized to perform over several days, usually centered around a specific theme (Pan & Wang, 2019). Thus, attendees can enjoy a social, cultural, and leisure experience during these days (Gibson & Connell, 2003).

Music festivals and other music events have always been popular activities in Western countries (Ballantyne et al., 2014), and their numbers have also increased in recent decades in other countries, such as China, where they have become a rapidly growing industry since the beginning of the century (Han et al., 2017). Therefore, in recent decades, the number of festivals and other music events has increased, becoming a significant part of the tourism sector with great potential for the development, repositioning, and economic restructuring of a destination. According to Leenders (2010), branding, atmosphere, image, and emotions act as attractive factors for tourists, leading to their loyalty and increased spending. If the destination has a long-term vision, variables such as pricing, online sales, and the use of technologies must be addressed to achieve long-term success and consolidate the event (Cardoso et al., 2019).

Regarding the promotion of festivals through social media, various studies indicate that social media usage has a significant influence on festival engagement (Hudson et al. 2015). This influence evidently impacts the destination image, which is why for destination managers it is especially important to have a clear understanding of the desired theme and image of the destination they wish to project (see Song et al., 2021), and to learn how to work on each specific platform in order to oversee the different destination visions and their resources (Garay & Morales, 2017).

2.2 The Use of New Technologies in Music Festivals

Many music festivals fail because the experiences they offer do not ensure relevance and meaning for attendees. By experimenting with enhanced sensory feelings and utilizing the wide range of technologies available today, the broadcasting, accessing, and consumption of these events can be significantly optimized (Robertson et al., 2015).

Advancements in information and communication technologies (ICTs) have transformed communication worldwide, including the festival sector. ICTs have become a key element of the experience in these events. The Typology of Human Capability (TCH) introduces digital opportunities that enhance the festival experience and acknowledges that digital technology provides people with opportunities to connect. The theories describing technology acceptance by users offer a comprehensive understanding of the factors affecting the adoption of ICTs in festival settings, relevant to current and future technologies. Integrating emerging technologies into festivals allows for the provision of novel experiences and adds value for attendees when properly incorporated (Van Winkle et al., 2018).

The purchase process for attending a festival begins with recognizing the need (Kotler & Keller, 2006). In this case, it is the need to attend a particular festival. This need may be motivated or amplified through information disseminated by the festival itself, such as advertising, or through feedback from other users or friends familiar with the festival. Here, the use of new technologies can provide a competitive advantage by reaching a larger target audience or making the festival more appealing. Most festivals have their own websites where users can perform essential actions, such as purchasing tickets or accessing event information. Additionally, they utilize social media platforms like Instagram, Facebook, or Twitter, which provide information and serve as important sources of feedback (Oklobdžija, 2015). Streaming music platforms like YouTube or Spotify also enhance the festival experience (UOC, 2019).

Technological alternatives continue to increase within the festivals themselves. The development of festival-specific applications is becoming more common. Through these apps, attendees can check artist schedules, transportation options, festival areas or maps, some of which are interactive with points of interest (Monllor, 2023). Another technological advancement used during events is cashless payment, which is revolutionizing the festival experience and gaining acceptance from both attendees and event organizers. Also, internationally renowned festivals like Coachella in California, United States (http://www.coachella.com), or Tomorrowland in Belgium (http://www.tomorrowland.com), have embraced RFID (Radio Frequency Identification) technology, which is incorporated into the access wristband chips. Others use NFC (Near Field Communication) technology instead. Through these wristbands, attendees can participate in raffles, vote, share impressions on social media, engage in games, or download exclusive content. These wristbands not only offer utilities for users but also provide valuable information to event organizers and promoters for improving the event, known as big data analysis. For example, they can analyze the number of people entering at any given time, points of high flow, the number of attendees yet to arrive, the most consumed drinks and food, peak consumption times, etc. (BBVA, 2017).

Facial recognition technology, well-known for its common use in smartphones, has also been implemented in music events. For instance, Taylor Swift concerts have used it to detect potential harassers. It has also been utilized in a more positive sense to create artistic expressions reflecting real-time emotions. Blockchain technology has also made its way into the festival sector. Firstly, in music dissemination through streaming platforms like Musicoin or Bitsong, which offer payment security for royalties using blockchain (traceable and monitorable transfer blocks). Secondly, in the creation of new music festivals. An example of this is Our Music Festival in 2018 (https://www.facebook.com/OurMusicFest/), a festival supported by blockchain technology where tickets are purchased using a specific cryptocurrency, and investments are made in cryptocurrency (UOC, 2019).

3 Methodology

The objective of this study is to conduct a case study on best practices in the use of technology in festivals and music events in Spain. To achieve this, the awarded technological initiatives in the last two editions of the Talkfest Music Fest Summit have been taken as a reference. This summit promotes the Iberian Festival Awards (IFA), specifically the category of “Best use of Technology”. Two representative cases from different areas of technology application have been selected: the interaction with an artificial intelligence image generation model at the Icónica Sevilla Fest, developed by Prodigioso Volcán, and the contactless payment systems at festivals held in Spain and Portugal, developed by Easygoband under the brand Gofun.

The case study is a qualitative research method that employs multiple sources of evidence and explores the object of study within its context. Its objective is to gain an in-depth understanding of a complex and unique phenomenon, including its causes, consequences, and implications (Yin, 2014). Within the case study, benchmarking analysis has been applied as a technique to identify and compare best practices in the field of technology in festivals and music events. Benchmarking offers several advantages, such as gaining knowledge of the state of the art, identifying improvement opportunities, establishing realistic and measurable objectives, and fostering innovation and quality (Kotler & Keller, 2006). Different types of benchmarking exist based on the field, objective, or source of comparison (Zairi, 1994). In this study, a cooperative benchmarking approach has been used, involving collaboration between participating organizations to share information and experiences. By selecting two awardees from the IFA, a cooperative benchmarking methodology is employed, investigating organizations recognized for their excellence in the use of technology in music events and their willingness to share experiences. This enables valuable insights to be gained from their best practices and adapted to other contexts (Ramabadron et al., 1997). The following steps have been followed to conduct cooperative benchmarking: defining the activity, identifying organizations implementing best practices, collecting and analyzing information about these practices, comparing them with other solutions, and evaluating the benefits obtained.

For each case study, a documentary analysis of available sources related to the project has been conducted, including websites, social media, press releases, videos, and reports. Special attention has been given to the objectives, characteristics, results, and benefits of the technology used. Finally, semi-structured interviews were conducted with the heads of the winning projects in the IFA 2022 and IFA 2023, aiming to delve deeper into the benefits derived from the use of technology in festivals and music events. They were contacted via the social network LinkedIn, and once they agreed to be interviewed, the interview was conducted in writing and the content of the questions was shared with the respondents. The interviews focused on evaluating four key benefits related to destination promotion, operational optimization, user experience, and added value. The answers of the interviewees were collected after two days.Footnote 1

3.1 Identification of the Activity

Talkfest Music Fest Summit is the premier event in the Iberian Peninsula for all topics related to music festivals. It features a program that is entirely focused on the present state of music festivals. The first edition took place in 2012 and included conferences, showcases, and exhibitions. In 2022, Talkfest-Music Fest Summit offered an event supported by three clusters: Main Event, Night Event, and Iberian Festival Awards (IFA).

IFA recognizes the contributions and achievements of event organizers and other stakeholders in the festival industry. The awards consist of 26 categories, including the category of “Best use of Technology”. Brands and organizations that present technological and innovative solutions in festivals in Spain and Portugal, which contribute to and add value to the festival experience and/or the attending audience, can participate in this category. The IFA 2022 was held in Barcelona, and the 2023 edition will take place in Maia, Portugal.

The IFA provides a platform for recognizing the exceptional contributions of event organizers and technology providers in the music festival industry. It plays a crucial role in fostering collaboration and establishing effective synergies between Spain and Portugal. The awards aim to acknowledge the efforts of various agents involved in festival organization and shed light on aspects that are often invisible to the public eye (IFA, 2023).

3.2 Best-Practice Organizations

The technologies awarded at the IFA serve as catalysts for innovation, promoting excellence and collaboration in the Iberian music festival industry. Below, we present the proposals of the winners from the last two editions.

The winner of the IFA 2022 was the brand Gofun, developed by Easygoband. Gofun is a pioneering platform that digitizes festival operations and payments. It integrates cashless payment systems, enabling users to make transactions seamlessly. With a hybrid device that supports NFC wristband/card payments and contactless bank card payments, Gofun offers festival-goers a wide range of payment options, thereby reducing queues and enhancing the overall user experience. A key feature of Gofun is its provision of comprehensive data analysis and sales reports. These reports empower festival promoters with detailed insights into sales information, enabling them to optimize resources and improve profitability.

Gofun combines various payment methods seamlessly. Festival attendees can utilize NFC cashless payments, contactless payments, QR payments, and an on-demand web app for ordering and receiving goods or services. The all-in-one payment solution increases user convenience and streamlines transactions. The award for the best use of technology recognizes the platform's versatility, comprehensive data analysis, and focus on user experience (Easygoband, 2022).

The winner of the IFA 2023 was the company Prodigioso Volcán with their proposal “Icónica I-Art” at the Icónica Sevilla Fest, held in the Plaza de España in Seville from September 16th to October 15th, 2022. In this case, music and artificial intelligence were blended in the first collaborative exhibition of AI art and music at a festival. The attending audience contributed their ideas through social media, focusing on their music experience, and the company translated these combinations into artistic creations using image creation tools that employ generative AI algorithms (see Fig. 1).

Fig. 1
An art render by an A I-tool. It has a painting of 9 male members of the band, Deep Purple. Some sit, while others stand, leaning on each other, and rapt in thoughts, around a rectangular studio recording equipment with several keys, bars, and switches of various types and sizes on it.

Deep purple in the recording studio, in the style of El Greco. Source Image created by Pablo Escobedo via Midjourney.

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The “translation” of the audience's ideas into images is the key process. Prompt engineering seeks ways to assist in training and adapting AI tools to make the most of new large language models (LLMs), which may yield results that are not always accurate or suitable. In text-to-image algorithms, the user writes a prompt or command containing instructions for the machine, and the AI model generates an image that matches the given description. The image creation tool used in this case was Midjourney. It is during the conception, writing, and refinement process that Icónica I-Art channels its creative intention. The resulting small artistic pieces from this co-creative experience represent a gallery showcasing the potential of AI applied to visual creation and communication (Prodigioso Volcán, 2022).

3.3 Evaluation of the Benefits Obtained

The selected case studies present two examples of how technology can enhance festivals and music events in different aspects. On one hand, Prodigioso Volcán demonstrates how AI can create a novel and creative interaction between the audience and the event, generating a unique and distinctive experience. On the other hand, Easygoband shows how NFC technology can facilitate payment processes, access control, and overall management at festivals, improving security, convenience, and efficiency. Table 1 provides a summary of the objectives, characteristics, results, and benefits obtained from the two case studies.

Table 1 Summary of selected case studies
Full size table

The systems used in payment platforms have revolutionized festival operations and the consumer experience. For example, the O Son do Camiño festival, held in Santiago de Compostela, was a finalist at the IFA 2023 for its use of Weezevent, an event management platform that offers technological solutions for festival organizers, such as ticket sales and access control. Weezevent and Enterticket provide a cashless payment system with NFC wristbands that can be recharged online or at the event venue. They also offer an online ticketing system with various formats (e-tickets, thermal tickets, passbooks). Imply offers Elevencash, a cashless payment platform for different segments that uses RFID technology in cards, wristbands, or printed tickets with QR codes.

Cashless payment systems offer several advantages to festivals, including reducing waiting times at bars and points of sale, ensuring the security of money flows by limiting the circulation of cash and preventing fraud, real-time monitoring and tracking of all operations with detailed sales reports, fostering audience loyalty through various promotions, and offering alternatives such as donations or ticket purchases for the next edition. Cashless systems also enhance sponsorship by featuring on the cashless wristband and improve promotions based on collected data (Weezevent, 2022). However, it is necessary to educate the public about the use of the cashless system, address their questions or complaints, and there is always the possibility of wristband failures or losses.

Results of the Interviews

The benefits of using technology in festivals are supported by the evaluations obtained in the expert interviews. The creative director at Prodigioso Volcán, argues that “the technological paradigm shift posed by the advancement of AI requires the sector to be attentive to technological changes, and we are entering an uncertain era where SEO and advertising space payments will not be enough”. Regarding the added value and experiential aspect for attendees provided by the Icónica I-Art solution, this expert notes that “the ability of this model to transform (the audience's) words into images, their experiences and memories into art, is what provided Icónica with innovative value and a new type of relationship with the audience. It hasn't been a year yet, and the technological possibilities available to us now would allow us to offer an even more astonishing experience”. Easygoband's CEO also emphasises how technology enhances the attendee experience: “(attendees) leave the concert with an impressive live experience”, and continues, “people are going to enjoy the event. Anything that facilitates that enhances the experience, and that's where technology has a lot to contribute”.

Another aspect to highlight is the optimisation of access, consumption and sales processes. In the words of the head of Easygoband “it is about reducing friction in all cases, both in the purchase and payment, as well as in recharging, access, etc.”. Many technological solutions are emerging, but they all need to demonstrate an economic return to the festival organizer, which is not always the case. In this sense, this expert points out that the technological solution presented by Gofun “increases sales, reduces collection times and avoids the hassle of queues for wristband recharging”.

A new challenge arises, openly discussed as a paradigm shift in technological innovation, and as one expert notes, “the generative AI revolution, the great paradigm shift of our time, brings an explosion of creativity and the ability to create new experiences for the audience. The improvement brought by AI algorithms to live sound engineering, beyond visual experiences personalized both on and off stage, is one of the fields where significant evolution will be observed”. He believes that large language models (LLMs) will bring greater efficiency in production management and improve the ability to provide personalized information to the audience through chatbots and assistants. The diffusion of innovation has its timelines, and not always do new technologies have the success they were predicted to have. It is important for companies and organizations to carefully study how innovative products or ideas are disseminated and perceived by consumers or users (Rogers, 2003). In this regard, one expert points out that “the challenge lies in knowing how to offer these services in an innovative way”.

4 Conclusions

The cooperative benchmarking methodology employed in this work allows for a panoramic and up-to-date view of best practices in technology usage in festivals and music events in Spain, as well as identifying the challenges and trends to be pursued in this field. In summary, the case studies highlight two key benefits of technology usage in festivals—enhancing the audience experience through AI creativity, and optimizing operations via improved payment systems. The technological paradigm shift posed by the advancement of AI requires the sector to be attentive to technological changes. As one of the experts commented, the challenge lies in knowing how to offer these services in an innovative way, meaning that technology should be applicable, accessible, and reach most of the market.

The analysis conducted has both theoretical and practical implications for the study of festivals and music events. From a theoretical perspective, it contributes to expanding knowledge about the role of technology in these types of events, as well as the dimensions of destination promotion, operational optimization, and user experience. From a practical standpoint, it provides a guide for organizers and professionals in the industry on best practices in technology usage, as well as the challenges and trends to follow.

This study has some limitations and suggestions for future research. The generalizability of the results is affected by the specific context of the selected case studies, as they may not be representative of other music events with different characteristics, and only two interviews were conducted with company managers, so the results may not be representative of the entire sector. Additionally, the selection of case studies has been based on a subjective criterion that may not reflect the quality or relevance of other technological initiatives in festivals and music events. It is suggested that future research expands the number and diversity of analyzed case studies and compares or contrasts the obtained results with other contexts or scenarios.