Live Nation festivals have become more accessible for disabled fans following a legal row relating to Wireless and Download.
The Equality and Human Rights Commission (EHRC) took action against the ticketing giant on behalf of itself and its festival operator, Festival Republic. The lawsuit came after reports of accessibility issues reemerged, relating to Wireless 2022 and Download 2023.
Disabled music fans reported issues with being able to see the stage, highlighted instances of staff questioning their disabilities, and noted a lack of accessible toilets on site. One fan who went to Wireless in 2022 described the event as “disheartening and a waste of time and money” due to the issues facing disabled festival-goers (via BBC News).
In response, the EHRC entered a legally-binding Section 23 agreement with Live Nation to ensure that it made accessibility improvements. These included enhanced Accessibility Guides, new guidelines that had to be followed by staff, an audit of all festival websites, and compulsory organisation-wide disability awareness and inclusion training.
More sensory calm spaces were introduced, as well as a mystery shopper system where disabled participants attend selected festivals and assess the accessible facilities available. After the events, surveys were handed out to disabled fans to review the standards.
“Festivals should be a place where everyone can have fun and make lasting memories,” said Chair of the Equality and Human Rights Commission, Dr Mary-Ann Stephenson. “That’s why we took action against Live Nation, using our regulatory powers to ensure it complied with its legal duties to create inclusive and accessible events that everyone can be a part of.”
She also said that the past two years have seen Live Nation meet the terms of the legal agreement, and the “tangible improvements will create an environment every fan can enjoy and give disabled people an opportunity to have their voices heard, shaping the accessibility of future events”.
Stephenson added that other festival operators are being pushed to “examine what they are doing to make reasonable adjustments for disabled fans and ensure they are creating inclusive events for everyone” as well. Check out the full report here.
Live Nation also gave further insight into changes it implemented, sharing with NME that it has “undertaken a multi-year programme, shaped by feedback from accessibility customers, to deliver improvements across our festivals”.
The changes include all of those aforementioned, including sensory calm spaces and improved guidelines, and for Download Festival in particular, more changes have been made as that festival attracts more people with accessibility requirements than any other.
Changes at Download include installing “one of the largest viewing platforms in the country”, “an accessible campsite next to the arena, with full facilities and specialist staff”, “a second accessible campsite being introduced for 2026”, “a 70-strong on-site accessibility team” and more.
“We want everyone to feel welcome, confident and able to enjoy live music,” said a Live Nation spokesperson. “Accessibility is built into how we plan and deliver our festivals, with a dedicated team focused on supporting people throughout their experience. We’re proud of what we have achieved, but it doesn’t stop here. We’ll keep listening, learning and improving so that all fans feel included at our events.”
The legally binding agreement Live Nation UK has signed with the Equality and Human Rights Commission (EHRC) also affects the Crystal Palace Concert Series, Finsbury Park Concert Series, Latitude Festival, Wilderness, Gunnersbury Park Concert Series, Reading Festival and Leeds Festival.
“Festivals deserve to be enjoyed by all, including disabled people. No one should be subjected to poor treatment when attending or being put off from attending altogether due to unacceptable access issues,” said Baroness Falkner, chairwoman of the Equality and Human Rights Commission (as per MusicWeek).
“The reported experiences at both Wireless and Download festival were unacceptable and should never have happened. We welcome Live Nation’s commitment to improve their services and the signing of this agreement will ensure disabled people are not left behind at future events.”
As well as facing pressure to make its festivals more accessible for disabled fans, Live Nation is also feeling a push to help support grassroots venues and emerging talent in the UK.
Creative Industries Minister Ian Murray wrote to NME about the need for the industry and Live Nation to “step up to help the next generation of talent”, which can be done by paying into the arena and stadium ticket levy, before the government is forced to intervene and make it mandatory by law.
The pressure comes as 30 grassroots venues were lost forever between July 2024 and July 2025, and last year alone saw more than half of those remaining making no profit and over 6,000 jobs lost. The last decade has also seen the UK suffer from the “complete collapse of touring“, with 175 towns and cities declared “gig deserts”, and 35million people without live music in their area or community.
So far, London Royal Albert Hall has become the first UK arena to voluntary start paying into the scheme last year, and artists including Sam Fender, Harry Styles, Radiohead, Lily Allen, Enter Shikari, Olivia Dean, Wolf Alice, Biffy Clyro, Ed Sheeran, Take That, The Cure, Kojey Radical, Foo Fighters and more have shown their support by doing voluntary “levy” ticket contributions.
Despite this progress, Creative Industries Minister Ian Murray told NME about why there is still a long way to go before we see any concrete change.
“At present, only 30 per cent of tickets for 2026 shows are currently supporting the voluntary ticket contribution. More major venues, tour operators, agents and artists need to step up,” he said. “In particular, while several major promoters have thrown their unequivocal support behind the Trust, a small number have not.”
“Live Nation, given its hugely influential position in the market, could make a major positive impact if it changes its stance,” he added. “I urge them to reconsider and step up to help the next generation of talent.”
Live Nation, who played a part in Harry Styles contributing £1 for each ticket to his upcoming Wembley Stadium residency to the LIVE Trust, responded to the criticism by telling NME that they “support artists’ choices on charitable donations, and has worked with numerous artists who have contributed to the voluntary levy – from Coldplay to Biffy Clyro – and will continue to do so.”
In a follow-up statement, a Live Nation spokesperson added: “Live Nation supports the aims of the LIVE Trust and the voluntary ticket contribution, and we welcome the increasing number of artists choosing to opt in.
“Alongside this, we support grassroots music at scale by promoting thousands of shows each year in small venues and helping artists build their careers from clubs onwards.”
Read the original article here