Pelle Andersson, operations manager at the Swedish Live trade association, is sceptical. Although he acknowledges members' concerns about the phenomenon of blue dots, which often mark unsold seats when tickets are being bought, he believes that today's cancelled events are more likely due to a combination of too many free festivals and changing buying behaviour.
He believes that the habit of buying tickets late has persisted since the pandemic. At that time, audiences waited to avoid the risk of buying tickets for events that could be cancelled.
Two peaks
Today, ticket sales therefore have two peaks, he explains:
There is one when the tickets are released. The second occurs just before the event starts. This makes it difficult to predict how many tickets will ultimately be sold.
He emphasises that the number of cancelled events must then be seen in relation to the fact that live performances have become an increasingly common and important source of income for artists.
"When I've called around and talked to members, my impression of this summer is that things have gone pretty well this year," he tells TT.
Then, of course, it is very sad that both Nynäskalaset and Trästockfestivalen have had to be cancelled.
Multiple risk factors
Fredrik Fernström is one of the founders of Nynäskalaset and sits on the board of Haj-Faj AB.
Last Tuesday, just four days before the planned start of the festival, the company was declared bankrupt.
This is despite the fact that as recently as Monday there was hope of being able to hold the festival. This followed a verbal promise from Nynäshamn Municipality about a loan that would cover the ticket loss - a promise that, according to Fernström, was then withdrawn the following morning.
Despite the setback, Fernström says he fully understands the municipality's actions, but is otherwise silent about the reason.
There are some details behind the decision, but I choose to wait and comment on it, he tells TT.
He also mentions the festival's ambition to dare to bring in more untested artists as a financial risk they have chosen to take.
It is also a responsibility you have as a cultural worker.
The decisive reason, however, was ticket sales, which never picked up the pace expected in recent weeks.
Fernström regrets that artists and audiences have been put in a bind.
