3 Days at the Oslo Jazz Festival: What We Can Learn from Their Model

The issue of culture, and more specifically, festivals in Montreal, has been a hot topic for several years now. Montreal is a cultural metropolis that hosts world-class festivals, but often with some difficulty. The challenges are numerous and span several areas: ever-shrinking budgets for programs that must generate ever-greater buzz, venue capacity, infrastructure maintenance, attracting young audiences, and so on.

These challenges inevitably lead us to question our model and ask ourselves how we can improve it. For me, part of the answer lies in looking at what’s being done elsewhere in the world.

I spent three days at the Oslo Jazz Festival and noticed three interesting aspects there that could offer potential solutions to some of the challenges we face here in Montreal.

1. PROGRAMMING COSTS

I’ve often heard that one of the biggest challenges is putting together a “WOW” lineup that’s appealing, generates media buzz, and resonates with a large number of festivalgoers—all on a very tight budget. Obviously, having Tate McRae perform on Île Sainte-Hélène is appealing, but at what cost!

I noticed that in Oslo, a few ticketed events featured better-known artists, but the vast majority of the lineup consisted of artists who were just starting out, some of whom were still in art school.

For me, there are two benefits: offering a very wide-ranging lineup at a lower cost, while directly supporting the next generation of artists. Putting cool, trendy young artists in the spotlight makes people want to get into music, whether as audience members or as musicians. And for young artists fresh out of art school, performing on stage at an international festival is a truly exceptional opportunity.

2. INVOLVMENT OF LOCAL BUSINESSES

The issue of involving local businesses, bars, and restaurants, which benefit directly from the foot traffic generated by events and festivals, is often raised. The idea of requiring these businesses to make a financial contribution is not new, but it is certainly complex.

What I saw in Oslo was more like shows being held right inside these stores. Of course, we have to keep in mind that Oslo isn’t as fortunate as we are: we have a “Quartier des Spectacles” and a “Place des Festivals” right in the heart of downtown. I have to say, it’s pretty impressive.

In the absence of this one-of-a-kind venue, Oslo has expanded its Jazz Festival’s lineup to include bars and restaurants that are willing to participate. In fact, the vast majority of the shows I attended took place in bars. With a glass of wine in hand, I found myself squeezed in among a crowd of young Norwegians who were dancing, chatting, and drinking beer to the sound of jazz improvisation.

While talking with the owner of one of these bars, I learned that he’s been partnering with the Festival for three years now. The deal is pretty simple: the bar handles security, the equipment (amplifiers, speakers, stage, etc.), and hospitality, in exchange for a very, very, very profitable night.

The concept isn’t new, but it’s certainly effective: involving local businesses in organizing events and, in the process, giving them visibility, while bringing jazz into direct contact with a young crowd that can sip natural wine and learn to appreciate it. Win-win-win.

This concept also addresses another challenge: decentralization.

3. HOSTING CAPACITY AND DECENTRALIZATION

Capacity is also becoming an issue. This year, more than 100,000 people came to see Angine de Poitrine at the Montreal Jazz Festival. That’s a lot of people crammed into Place des Festivals!

What I saw in Oslo was the audience spread out all over the city—thanks in part to local businesses, but also in parks and public squares.

Once again, Oslo does not have a “Quartier des spectacles.” It is therefore inevitable that other types of venues will be used to host these kinds of events, but it is often under constraints that the best ideas emerge, and some of the benefits of this approach are worth mentioning.First, the entire city was buzzing with festival activity. No matter where I walked, I could hear music at all hours of the day, on a median separating a pedestrian street, in a large green park, in back alleys away from the center where small local bars are clustered, and so on.

Then, no matter which neighborhood you were in, there were always events going on. For a tourist, this means you can enjoy the shows while exploring different parts of the city. For a local, it’s a huge draw to be able to head to the corner bar to catch an obscure jazz-metal band (a surprisingly great show, I tell you!).

I understand that staging Angine de Poitrine at the Quai des Brumes or Square Victoria isn’t a viable solution to the issue of venue capacity, but there’s still something worth exploring there…

_______________________________________________________________

In closing, I have to say that my three days at the Oslo Jazz Festival also made me realize just how unique our Festival Plaza is. It’s pretty amazing to be able to welcome 100,000 people right in the heart of the city for a free concert.

But this trip also reminded me that we have a lot to learn from what’s being done elsewhere. Some of the ideas I saw in Oslo seem relatively simple to implement, at least in theory (you should never underestimate administrative and municipal constraints!), and could help make our festivals more accessible, more vibrant, and perhaps even less expensive.

In any case, no matter the city, an urban festival remains a rather unique experience where, for a few days, the city’s rhythm changes, people go out, run into one another, and use public spaces in new ways.

Long live festivals!