Carl Magnes writes in Jacobin:
The rapid growth of mega-festivals is a physical expression of the increasingly aggressive class barriers and inequities that fracture the social economy of art and music. They offer only a few strictly defined identities. You can be a member of the creative elite; an owner of capital; hired staff; or a member of the policed, regulated audience. The fences, hierarchy of privileges, and security guards are a live theater version of our cultural life’s stratification.
Read More: Money Before Music | Jacobin