Behind the escapist fairytale setting lies a Flemish success story that is about to go global. Festival founders Manu and Michiel Beers are brothers and music fans from Antwerp who staged the first loss-making one-day event in 2005, when it was attended by fewer than 10,000 people. Now they are launching the first global spin-off, TomorrowWorld, near Atlanta in the US from 27 to 29 September, with more festivals on other continents planned for next year. It is one of a series of entrepreneurial moves that has rocked the electronic dance music scene this year.

Eye on expansion

The success of the Beers brothers and the pioneering Amsterdam-based electronic music experience company ID&T, in which they previously had a 50% share, had not gone unnoticed by music promoters around the world. After months of speculation, in March US company SFX Entertainment bought a 75% stake in the global business of ID&T for around $97.5 million (€74.5 million).

Back in the late 1990s, SFX built up a portfolio of concert promoters, producers and venues. CEO Robert Sillerman subsequently sold the company in 2000 for $4.4 billion to Clear Channel, the predecessor of concert promoter Live Nation.

With Tomorrowland selling out in seconds and capacity limited to 180,000, the Beers brothers’ quest for expansion via foreign investment was understandable. But in mid-June the Flemish daily De Standaard broke the news that the pair had bought back the shares from SFX, making them Tomorrowland’s majority shareholders. In return for the low share price, the brothers agreed to work with SFX in developing the brand globally, so strong is the belief in the future and profitability of the genre.

The success of TomorrowWorld in September is key to this global march. Its location at Chattahoochee Hills in Georgia features the same natural amphitheatre of the Boom site, plus natural lakes and rolling hills. A major selling point is the fact it is 20 minutes from the international airport in Atlanta. And the 8,000-acre farm belongs to a fellow Fleming, former Olympic three-day event horse rider Carl Bouckaert.

The first edition of TomorrowWorld is expected to attract 50,000 fans each day. All 75,000 US tickets sold out in two hours, while tickets remain for international fans. ID&T spokeswoman Debby Wilmsen admitted there was a risk element to the event: “People have high expectations; the pressure is on to do something that will surprise them. We always have to try and do something better.”

Wilmsen is enthusiastic about the American version. “We will have the same atmosphere, same decor, Belgian elements but with a local flavour. Belgian beers will be available and we are now looking for local famous chefs.” The choice of artists as well as the image remain the responsibility of the Belgian team, explains Wilmsen. It will be the first festival in the States to have an age limit of 21, to maintain the adult atmosphere. Tomorrowland is off-limits to under-18s.

The concept is deliberately one that can be moved around the world, adds Wilmsen. “We can work with other promoters, even smaller ones, for example in Africa.” Tomorrowland stages local artists alongside European and world names, and the American version will be similar.

It is no fluke that Flanders has become a mecca for electronic dance music: This country has had a pioneering role in the genre since the 1980s and remains a hotbed of original electronic music talent.

“There is no other country with so many music festivals, and now we have this massive dance event,” says Kevin McMullan, press officer of Brussels concert hall Ancienne Belgique.

The other important aspect, he says, is the creation of a unique fairytale world. “No other festival in the world does this. Festival-goers get into this whole trance state with the beat of this repetitive music and then all this crazy stuff happens such as aeroplanes flying over dropping thousands of rose petals,” he explains. “They are going to have to do something crazy in the States as well.” McMullan believes the growing appeal of electronic music within a festival context is probably a generation’s need for shared escapism.

Wilmsen acknowledges that it is a “modern-day Woodstock”. There is a holiday atmosphere, you hear so many languages and people fly their national flag.” One reason for the popularity of Tomorrowland among fans and promoters is that the event team pays enormous attention to detail, quality and creativity. These were the initial priorities of the Beers brothers when they launched the festival as a welcoming daytime alternative to the then late-night scene that characterised electronic dance music.

Creature comforts

“When they designed the festival it was all about flowers, smiling, colour and no queues,” says Wilmsen. They were equally determined that the food and drinks would be of a high quality, and creature comforts were important from the start. “Wooden floors for wearing heels, tables and chairs for eating, and clean toilets. When people travel from as far as Australia they appreciate a certain level of comfort.”

With many fans flying in early, festival organisers put together a Global Journey package that includes hotels and a tourist programme to Bruges, Brussels or Antwerp. The team are preparing an equivalent deal for TomorrowWorld visitors and are collaborating with Brussels Airlines’ long-haul partners, hotels in Atlanta and activities such as visiting the city’s Coca Cola Museum.

For Wilmsen, the passion of the young festival team outweighs the hard work. “There are no arguments, despite the stress. I don’t sleep for a week before the start of the festival, worrying mainly about the weather,” she says. She has also learnt to play coy when asked what she does for a living. “Everyone wants to come to the festival and I get about 1,000 calls. So now I just say I’m a press agent.” With the Tomorrowland brand on the brink of going global, Wilmsen had better remain evasive about what her day job is.

www.tomorrowland.be