Edm Economics

19/2/2015
TheEconomicsofElectronicDanceMusicFestivals|SmartAsset.com
The
Economics of
Electronic
Dance Music
Festivals
Thierry Godard
JAN 23, 2015
SHARE
DJ Shadowstated in late 2012 that we

are livening in a musical renaissance.In
that same year the genre commonly
known as electronic dance music was
valued at an estimated $4 billion
worldwide. 2012 also saw the
establishment ofThe Association For
Electronic Music, the first new lobbying
group in over 50 years. The last was
formed in 1958 for country music.One
year later dance music legends Daft Punk,
who rose to super stardom by
reintroducing Chicago house music to the
world, broke Spotifys streaming record
with 27 million playsof their hit single
Get Lucky.
Find out about startup economics
The growth of EDM would be virtually
https://smartasset.com/insights/theeconomicsofelectronicdancemusicfestivals
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19/2/2015
impossible without the internet. Similar to

book publishing, the web has completely
and thoroughly disrupted the music
industry. Anyone and everyone with a
fairly decent internet connection is only
milliseconds away from a millenias worth
of musical knowledge.
Through Pandora, Spotify, Soundcloud,

Twitter and Facebook weve all become
DJs; discovering, curating, mixing a set
list to carry us through the splendid
banality of our technology driven lives. Its
during this great moment of musical reexploration that everyone seems to have
fallen in love with electronic music, dance
music, or EDM. Ask anyone and they can
tell you at least one electronic music
producer, or DJ that they love, or love to
hate.
EDM is, unapologetically, the music of the
millenial generation. A generation which
has witnessed the greatest technological
upheaval since the industrial revolution.A
generation that is simultaneously more
connected to each other, and seemingly
more detached from reality than ever
before.Its the music of 20-30 years olds
whove been focused on the rapidly
approaching future, while remaining
conscious of their past. And despite being
more educated than any generation that
preceded them, millennials are more than
likely to earn less over the course of their
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19/2/2015
professional careers than their parents.

Where baby boomers had rock and roll,
and Gen Xers had hip hop and punk to
work out their longing for rebellion and
personal freedom, millenials have EDM.
Its a somewhat ironic mass revolt against
modern society, where subtlety is
exchanged for a sense of community that
Facebook and Twitter have only dreamed
of replicating.
The acceptance of EDM into the cultural
mainstream allowed the 10 highest paid
DJs to command a combined $115 million
in 2012 according to Forbes. The highest
paid DJ on the Forbes list, Tiesto who
brought in a whopping $22 million last
year, attributes the much of electronic
musics growth to social media.
Its a match made in heaven where

unknown DJs and producers are able to
share their tracks, remixes and sets across
social media, forums, and blogs. This
exposure can often lead to paid gigs
which have the potential to catapult
obscure producers into international
super-stardom. Though electronic music
has grown popular, its roots still remain
deeply entrenched in underground
culture.
The rising popularity of electronic music
has led to it transforming seemingly
overnight from a fringe genre generally
associated with LSD, ecstasy, abandoned
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warehouse parties, and homosexuality, to

over the top spectaculars brimming with
sensory overload of every kind. In the
process week long festivals like Ultra
Music Festival, Electric Daisy Carnival and
Coachella have become household megabrands. Their economic viability is very
real; just one weekend can generate
hundreds of millions of dollars for local
economies and promoters. Although some
events and promoters have close to 20
years of experience, the real acceleration
only occurred in the last half decade.
Related Article: Five Ideas for Frugal Fun:
Miami
What is even more peculiar is that
electronic dance music is nothing new.
What we commonly identify as EDM has
been around for nearly 45 years, yet it has
only recently been acknowledged as the
way forward forthe struggling music
industry.
The rise of electronic

dance music
The simplest definition of electronic dance
music is music produced primarily, or
solely, through synthesizers, drum
machines and computers for consumption
by party-goers. The earliest elements of
electronic dance music began to take
shape in the late 1950s with primitive
synthesizers built by the Electronic Music
4/24
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Studios London. Throughout the 1960s

and 1970s many musicians and bands
experimented with various forms of
synthesizers like the Moog. But the
synthesizer didnt get its first real moment
until 1973 when an Electronic Music
Studios VCS3 appeared on Pink Floyds
Dark Side of the Moon. Electronic dance
music as we know it today didnt really
begin to take form until the late 1970s.
If you said electronic dance music began
on July 12, 1979 during Disco Demolition
Night at Chicagos Comiskey Park, you
wouldnt be wrong. In center field, in
between the Detroit Tigers and Chicago
White Soxs doubleheader is where disco
had a very public death.
That night Chicago radio DJ Steve Dahl
had rallied his listeners to blow up disco
records in a publicity stunt to kill disco
once and for all. The seemingly harmless
promotional stunt, quickly escalated into a
full blown riot leading to the cancellation
of the second game. The event is viewed
to this day as a backlash against inner city
homosexuals, Latin Americans and blacks
by most historians and sociologists.
Following the public display of hatred,
disco went underground, and into the
warehouses of Chicago, and New York.
There on the converted dance floors
legendary DJs Larry Levan, and Frankie
Knuckles played for hours on end mixing
together rock, funk, r&b and disco. As the
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parties grew, DJs quickly began to create

their own edits and remixes of classic
records to keep warehouse crowds going
all night.
By 1984 DJs like Jesse Saunders and
Vince Lawrence had begun to create their
very own productions like On and Onto
spice up their routines. Eventually record
store owners would dub this new style of
music warehouse music (named after
Chicagos The Warehouse where
Frankie Knuckles was the resident DJ)
and later shortened to simply house
music. There in the sweaty inner-city
underbelly, people came together as one
to dance away the social ills, writhing and
twisting until sunrise to house music.
Though house music (Chicago and New
York) and techno (Detroit) were born in the
United States, it wasnt until it was
exported to the U.K. club scene that it
began to become more than just music
played in clubs. In Europe it found an
audience receptive to forward thinking
DJs and their addictive baslines. But when
London club nights quickly grew out of
control, they were shut down.
Undeterred by law enforcement, the
parties didnt stop. They simply moved to a
empty fields off of the M25, the 117 mile
loop of highway that circles London, and
quadrupled in size. These open air events
quickly gave rise to rave culture, and a
series of festivals. All of which came to a
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head in 1988s, and 1989s Second

Summer of Love.
From the late 1980s through the 1990s

the U.K rave scene exploded as parties
grew in attendance from 4,000, to
anywhere between25,000
and40,000.Though police and public
official tried desperately to shut down the
events, it only forced the parties further
underground. As such organizers and
party goers would rely on increasingly
sophisticated methods of communication
to relay information on parties. Initially
relying on pay phones, and later internet
chat rooms and forums.
The birth, and rapid expansion of
electronic dance music, and all of its
various sub-genres can not be
summarized in a few short paragraphs.
Thats what books are for.
Electronic dance music

and the internet
With its underground parties, secret

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locations and word of mouth

communication, EDM and the internet
were made for each other. It would be the
internet that would serve as the catalyst
for the explosion to come. As internet
speeds increased, MP3 players
proliferated school yards and file sharing
networks sprung up like weeds, dance
music slowly began to reintroduce itself to
Americans.
These advancements were further
compounded by the establishment of
digital radio stations like DI.FM (founded in
a Binghampton University dorm room),
Napster (founded in a Michigan University
dorm room) and the emergence of social
networks like Myspace (founded by Tom).
This perfect storm allowed artists and DJs
to instantly distribute their creations. In fact
Los Angeles based electronic music Flying
Lotus credits the growth of his own career
to Myspace.
For Americans, who were continuously
subjected to the monochromatic sounds of
popular radio, the internet provided an
escape. Streaming through computer
speakers, often atappallingly low quality,
was an endless sea of new sounds,
textures and beats played in steady 4/4
time. Anything and everything was game
as long as the tempo ranged from 118 to
160 Beats Per Minute.
What came along with the rising interest in
electronic music was an interest in DJs
who hosted internet radio shows. Legends
like Armin Van Buuren, Tiesto, Paul
Oakenfold, and John Digweed all hosted
their own radio shows for traditional radio.
However for the first time they made their
sets available for streaming or download
via the internet. They had effectively
created podcasts before there was an
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iPod, or iTunes. This new distribution

channel helped grow Armin Van Buurens
A State of Trance into a massive franchise.
On March 30th 2013 the weekly radio
show celebrated its 600th episode to a
sold out crowd of13,500 fans at Madison
Square Garden.
The internet and EDM remain joined at the
hip, today social media is the primary
ticket sales for electronic dance music
festivals, concerts and club nights.
According to a report by TicketFly, social
media ticket sales for EDM events are six
times higher than traditional events like
plays, sporting and other music events.
What is more interesting is that 58% of

ticket buyers are usually males
purchasing just one ticket. TicketFly
speculates that the sense of community
among EDM fans decreases desires to pair
up prior to purchasing a ticket. This has
the effect of increased ticket sales relative
to the overall popularity of the performers.
The rise of electronic

dance music festivals
North America has had an on-again offagain relationship with music festivals. The
latest chapter began in 1999 with
Woodstock 99. That summer also hosted
the very first Coachella Valley Music and
Arts Festival. In the time since, numerous
music festivals have sprung up in New
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York, Chicago, LA, Florida, Oregon and

Tennessee. The growth in popularity of
music festivals is no doubt helped by the
internet. A network of blogs, media
outlets, promoters and retailers helps
facilitates the sale of tickets, and spread
awareness (aka hype) about festivals and
performing artists.
Like any business, Coachella fought hard
to stay alive in its first years, and was
cancelled in 2000 due to financial
problems. Yet it remains one of the
premier music festivals in North America.
In 2012 and 2013 the festival generated
over $47 million in revenue.Electronic
and dance music acts were the major
attractions, with over 50 electronic
musicians playing to the pulsating
California desert crowd.
Coachella remains incredibly popular, and

is likely the greatest coalescence of
current music tastes in the United States.
But Coachella is more than just a cultural
haven, it generated some very real
economic benefits for its hosts. In 2013 the
festival generated roughly $500,000 in
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cold hard cash, or roughly$2.33 per pass

sold,for the city of Indio, California.The
economic impact of Coachella on the
surrounding local economy is an estimated
$254 millionand is projected to grow for
2014.
The growth of music festivals isnt limited
to Coachella, Bonaroo or Lollapalooza.
LiveNation, the largest concert promoter in
the world, views electronic dance music
festivals as its greatest growth
opportunity. In 2012 the promotion
powerhouse raked in$3.9 billion
andacquired a 90% stake in two EDM
festival organizers: U.K. based Cream
Holdings Ltd, and Los Angeles HARD
Events.
Though LiveNation did not reveal the
details of these acquisitions, Cream
Holdings Ltd had an estimated $7.8
million in assets in 2011 according to the
New York Times. This pales in comparison
to the estimated $50 million paidby
LiveNation to Insomniac Events for a 50%
stake in the Electric Daisy Carnival (EDC)
organizer. Both Cream Holdings Ltd (which
organizes the famed Creamfields Festival
in the U.K.) and Insomniac Events are
established players in the electronic music
scene, having staged events since 1993
and 1998 respectively.
In 2011 Insomniac Events commissioned

Beacon Economics to measure its impact
on the cities who so graciously hosted
their non-stop dance festivals. Beacon
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estimated that EDC 2010, held at the Los

Angeles Memorial Coliseum, generated
roughly $42 million for the local economy
over the course of two days. In 2011 the
festival moved to the Las Vegas Motor
Speedway and expanded its line up to
three days. There the festival supported
an estimated 1,400 full-time jobs and
generated $136.4 million for the Las
Vegas economy.
As impressive as those numbers are, EDC
2012 was even more profitable. Over the
course of three days the festival
generated $207.048 million for the Las
Vegas metro area, an increase of 57%
from 2011. It also helped to support the
equivalent of 2,018 full time jobs and over
$84 million in labor income. EDC is a very
big deal for Clark County, in the two years
it has played host to EDC the
unemployment rate has hovered around
11.8%.
Where is all of that cash coming from?
Beacon says 108,000of the
festivals115,000 attendees arrived from
other parts of the world and spent millions
eating, dancing, drinking and occasionally
sleeping in the surrounding area. To date
Insomniac claims that theyve generated
$344.246 million for the local economy,
which excludes EDC 2013. We estimate
that the economic impact of the festival
will be in excess of $500 millionfor 2013.
To get a better sense of the immense

growth of electronic dance music festivals,
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well have to go to Canada for the The

Monster Center of Gravity Festival (COG).
COG is a music and extreme sports
festival hosted in British Columbia with
humble beginnings similar to those of
Coachella. However it only began to book
electronic acts in 2009. Their growth over
the last four years is hard evidence of
EDMs acceleration into a business
powerhouse capable of producing real
financial returns for event producers of all
sizes.
The Monster Center of Gravity Festival,
organized by WetApe and hosted on Lake
Okanagan, is a three day sports and music
event/summer camp. Though dwarfed in
size by American music festivals like
Electric Daisy Carnival and Ultra Music
Festival, COG still lists big name DJs like
Kaskade and Tiesto as headliners for its
72 hour party.
Wet Ape was founded in 2007 when
some friends and I put together
VolleyFest, all we had was a budget of
$50,000 and the desire to have fun.
Things sort of grew organically from
there. Said Center of Gravity Event
Director Scott Emslie. In 2009 Center of
Gravity began to invite EDM DJs to the
lakeside venue and hasnt looked back.
Over the last four years the festival has
grown in tandem with the electronic music
scene. The budget for the 2013 Monster
Center of Gravity Festival is an estimated
$1.5 million which will go towards
hosting50 artistsand six sporting events.
Its a massive logistical undertaking with
over 500 individuals working behind the
scenes.
The Center of Gravity Festival really began
to take its current form three years ago.
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And since then its ticket prices have

increased by 81% for a three day pass.
That increase, says Emslie is largely
attributed to an increase in the size of the
festival. COG simply offers more to
attendees than it did three years
ago.With that comes an increased need
for security and emergency respondents.
This year COG will spend roughly
$70,000 in contracting local law
enforcement to maintain order.
The increased ticket prices also help to
fund significantly improved stages, lighting
and sound. Emslie added People just
want more, and the greater number of
festivals has increased competition to
provide bigger and better shows each
year. For example we booked Calvin
Harris, Deadmau5 and Skrillex for our
2010 festival. Back then Skrillex was
basically unknown and we paid him a
couple thousand to show up. When we
tried to book him again five months later
[for 2011] he had become so in demand
that it didnt make financial sense [for us]
to have him play said Emslie. Despite the
festivals impressive growth, it still cannot
match the ferocious demand of fans to see
big name DJs play at huge festivals.
Future music: mo money

mo problems
It doesnt take much math to see that the
costs of staging a festivals like COG and
New Yorks Electronic Zoo are immense.
14/24
19/2/2015
Yet its ticket prices are less than half of

Miamis Ultra Music Festival, which offers
multiple day passes for $399 and VIP
access starting at$850. What Scott Emslie
was quick to reiterate was that rising costs
are attributed directly to the rising costs of
booking in demand DJs, producing
fantastic visual shows, and making sure
the sound is impeccable.
The promoters at Ultra Music Festivalare
conscious of the rising costs, and have
introduced a payment plan for its pricey
tickets. So even if you cant afford to buy
your tickets today, you can put your desire
to rage on layaway. Which isnt as terrible
of an idea as it sounds.
Miami is another struggling city that has
reaped the benefits of the EDM festival
boom. The south Florida city has hosted
the Winter Music Conference for 28 years,
of which Ultra Music Festival is one of the
500 events underway over the course of
ten day days. In just one weekend Ultra,
and its 165,000 attendees, generated $79
million in revenue for the Miame-Dade
county economy. It also put$10 million in
taxes into the coffers ofstate and local
governments.
As a recent lawsuit filed against Insomniac
Events CEO Pasqual Rotell highlighted, not
all of revenue generated passes on to the
state through legal means. For Rotell,
some of it goes towards greasing the
palms of a Los Angeles coliseum officials
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to the tune of $1.8million.The case was

dismissed, but it does illustrate the very
grown up problems festival producers are
dealing with as pressure to put on more
expensive and more impressive shows
increases.
Though EDM, and EDM festivals have

proven to be as economically viable as
any other form of music, it still has many
detractors. There are many within its own
ranks who dismiss the sudden popularity
as a trend, or passing fad. Though they
arent wrong, the insane salaries
commanded by superstar DJs is nothing
more than the market responding to years
of pent up demand. People have always
loved dance music, and for the first time it
seems like its acceptable for Americans to
be upfront about it.
Its entirely possible that electronic dance
music wont remain as popular as it is
today. But for an industry determined to
not be forgotten by history, continued
growth remains the only option. For a a
country (and a generation) still coming to
terms with its penchant for racism,
homophobia, sexism and rabid
consumerism, there couldnt be a more
appropriate time for America to pop the
EDM pill.
Are you fan of EDM? Share the growth
with your friends:
16/24
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Click to enlarge
Related Article: The Economics of the

New Publishing Landscape
Sources: Center of Gravity Festival, BBC,
Insomniac Events, Beacon Economics,
Ultra Music Fesitval, Live Nation, TicketFly
Many thanks to Alexander Francesco for
sharing his photos in the creation of this
article. You can see more of his work here:
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Alexander Francesco&LastNitePhoto
Photo Credit: flickr, flickr, flickr
THIERRY GODARD
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Endowment
Life Insurance
Policy
Amelia Josephson
FEB 19, 2015
SHARE
Saving for college tuition is no easy feat.

Save too little and your child will be
saddled with loans. Save too much and
you might not get as much financial aid as
18/24
19/2/2015
you need. Unless youre planning to pay

cash for the full sticker price of a college
education, youre a good candidate for
specialized college savings vehicles. One
of those is the endowment life insurance
policy.Let us explain:
Find out now: How much life insurance do
I need?
Endowment Insurancevs
Term Insurance
An endowment life insurance policy is a

form of life insurance that comes with a
guaranteed pay-out (known as an
endowment) at the end of a set term.
Heres how its different from a regular
term life insurance policy: Ordinarily, when
the term of a term life insurance policy
ends, the policyholder doesnt get money
back. The idea of a term life insurance
policy is to have relatively low premiums in
exchange for peace of mind during the
length of the term (generally 10, 20 or 30
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19/2/2015
years).
An endowment policy takes that model
and tweaks it, turning a term life insurance
policy intoa savings vehicle. Of course, all
life insurance comes with a pay-out if the
policyholder dies, but an endowment
policy pays out at the end of the term even
if the policyholder is still alive and kicking.
That pay-out can be used to pay for
college or anything else. Because they
come with a pay-out, endowment life
insurance policies havehigher monthly
premiumsthan regular term life insurance
policies. Think of them as a cross between
a term life insurance policy and a cashvalue life insurance policy.
Is Endowment
InsuranceFor You?
When you factor in the high premiums you
pay each month, plus inflation over the
term of the policy, pay-outs from
endowment life insurance policies often
dont provide aparticularly high return on
investment. They do, however, provide
peace of mind and a form of forced
savings, since youllmake regular monthly
payments over the life of the policy. And
as we know from the dismal average
savings rates for Americans, forced saving
can be a good thing.
So is it worth it?When deciding how to
save for college, consider the return on
investment for your money, and how your
savings will measure up against the actual
cost of four years at college. Then,ask
these two important questions:
How will this impact my childs
financial aid award?
How will this impact my taxes?
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19/2/2015
The first year you apply for financial aid

(for your childs freshman year of college),
your endowment life insurance policy
wont count against you, and wont
decrease your aid eligibility. Thats an
advantage that life insurance policies have
over other savings vehicles. Once you
take the pay-out, though, that money will
count as income when tax season comes
around, and will also count as income
when you apply for financial aid the
following year. You cant hide from the
FAFSA forever.
Endowment Life Insurance

vs 529 College Savings
Plans
What are some alternatives to endowment
life insurance policies? A popular one is
the 529 College Savings Plan. 529 plans
workdifferently from endowment life
insurance. With a 529 plan, you can make
tax-deductible contributions based on
todays college prices in your state, and
then withdraw down the road, spending
the money tax-free on your childs college
expenses. Unlike an insurance policy, a
529 doesnt lapse if you dont make
regular contributions, and you can
contribute as little or as much (up to a
generous cap) as you can and want.
Savings in a 529 do count against your
familys financial aid eligibility, though.
Get life insurance quotes
The Combo Plan

One solution favored by many parents and
financial planners is to combine a term life
insurance policy with a 529. That way, you
pay low premiums for a big-pay out if
21/24
19/2/2015
something happens to you during the life

insurance term, and youre also benefiting
from tax-advantaged college savings via
the 529. Taking this approach means
splitting up the money you would spend
onmonthly payments for an endowment
life insurance policy. With this strategy you
divide that money into two chunks, one to
pay the premium on a generous term life
insurance policy, and the other to go into a
529 plan.
Bottom Line
If you choose theCombo Plan (we made
that term up, so dont go requesting it at
your next meeting with a financial planner)
youll have a regular termlife insurance
policy, meaning you lose the money you
pay in premiums if you outlive the term. If
losing those premiums sounds too painful,
endowment life insurance may be a better
option for you. Endowment policies are
safe theyre low-risk and low-reward.
You dont have to worry that fluctuations in
the market or the interest rate will wipe out
your college savings, and you dont have
to use the endowment for college
expenses if you dont want to. No matter
what youre using the money for, its a
good idea towait until the end of the term
to claim your pay-out, though, or risk
paying penalties and fees for early
withdrawal.
Happy saving!
Photo credit: flickr
AMELIA JOSEPHSON
Amelia Josephson is a staff writer covering
financial literacy topics at SmartAsset. She
holds degrees from Columbia and Oxford.
Originally from Alaska, Amelia now calls
Brooklyn home.
22/24
19/2/2015
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19/2/2015

JAN 23, 2015

DJ Shadowstated in late 2012 that we

impossible without the internet. Similar to

Through Pandora, Spotify, Soundcloud,

professional careers than their parents.

Its a match made in heaven where

warehouse parties, and homosexuality, to

The rise of electronic

Studios London. Throughout the 1960s

parties grew, DJs quickly began to create

head in 1988s, and 1989s Second

From the late 1980s through the 1990s

Electronic dance music

With its underground parties, secret

locations and word of mouth

iPod, or iTunes. This new distribution

What is more interesting is that 58% of

The rise of electronic

York, Chicago, LA, Florida, Oregon and

Coachella remains incredibly popular, and

cold hard cash, or roughly$2.33 per pass

In 2011 Insomniac Events commissioned

estimated that EDC 2010, held at the Los

To get a better sense of the immense

well have to go to Canada for the The

And since then its ticket prices have

Future music: mo money

Yet its ticket prices are less than half of

to the tune of $1.8million.The case was

Though EDM, and EDM festivals have

Related Article: The Economics of the

How Much House Can I Afford?

Should I Refinance My Mortgage?

How Much Do I Need to Save for

How Much Life Insurance Do I Need?

What Credit Card is Best For Me?

FEB 19, 2015

Saving for college tuition is no easy feat.

you need. Unless youre planning to pay

An endowment life insurance policy is a

The first year you apply for financial aid

Endowment Life Insurance

The Combo Plan

something happens to you during the life

How Much House Can I Afford?

Should I Refinance My Mortgage?

How Much Do I Need to Save for

How Much Life Insurance Do I Need?

What Credit Card is Best For Me?

Smartly made in NYC

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