Full House

Taylor Swift built a world. Charli xcx built a movement. Fandom isn’t a marketing strategy, it’s what happens when you get everything else right. Matt Ecclestone, Communications and Impact Lead at the Arts Marketing Association (AMA) explores what arts festivals can learn from pop culture’s most devoted fan bases

It’s clear that fandoms are having a moment. If you’ve spent any time in the past couple of years watching the cultural impact of Taylor Swift’s Eras Tour, Charli xcx’s lime-green-tinged takeover with brat summer, or the fervour of Yungblud’s fan army, who go by the name of the Black Hearts Fan Club, you’ll see the effect that harnessing a devoted following can have on both mainstream acts and those who have moved from the fringes by owning their niche.

Fandoms aren’t new. From the fan clubs of pop acts of yesteryear to the tribal dedication of football supporters, they have long been part of public life. However, the fandoms of 2026 have been turbocharged with the “always on” digital culture and society’s insatiable appetite for content. The need for connection in an increasingly disconnected world has provoked a rush towards digital and in-person communities: to be “in” on the Easter eggs, the memes and in-jokes, and to share live experiences with others who are equally enthralled.

For these big acts, it begins and ends with their creativity and whether people love their music. The community crafted around this is what drives their commercial success, but it’s not solely about that. They show how a clearly communicated identity, a consistent aesthetic and a genuine investment in their community can turn an audience into something altogether more powerful: a movement. So, what can arts festivals learn from this?

Brand is more than a logo: authenticity is your lifeblood

Branding was key for Charli xcx in creating an aesthetic to encapsulate her album, brat. Her visual identity was simple: a flat neon green background with a pixelated lo-fi typeface, yet it cut through the noise of our ultra-saturated digital world. The brat palette marked the culmination of a long journey establishing her artistic narrative, built on trust and authenticity with her audience.

Brand isn’t just a logo refresh or changing your website. It’s the promise you make to your audience, and whether you keep it. It’s the embodiment of your purpose and your values, what you strive to achieve and the impact you seek to have on the communities you serve. Arts festivals are often founded by dedicated individuals or small groups, rooted in their locality and sustained by their community. These aren’t brands that are being manufactured; they are brands with distinctive identities that are already being lived.

Festivals have distinctive identities, from the radical politics of fringe theatre festivals to the joyful chaos of a carnival or the civic spirit of outdoor arts. The work is in how these identities are communicated – what you stand for and the courage to own and amplify your position rather than trying to be everything to everyone. Embodying your authenticity is key to creating the foundations for fandoms.

An aesthetic is a doorway to what you do

We reached peak Taylor Swift with her Eras Tour. She doesn’t just successfully sell tickets and albums; she has created and sold a whole immersive world. From friendship bracelet exchanges to iconography for each Era, and fan-made setlist predictions, Swift has created the connection not just between herself and her fans, but one where her fans bond with each other.

Fandoms are founded on the innate human need for belonging, self-expression, identity and social capital. Members share interests, a joint language and the same reference points. They move from passengers to drivers, participating in Swift’s “world” – from fan art to listening parties and merch swapping events. The same can be said for Yungblud who understood early that aesthetic was the entry point for belonging. His merchandising, visuals and language signal to fans that if you feel different, or like you don’t belong, you are seen here. Arts festivals that create a visually distinctive and emotionally legible world – then give audiences tools to inhabit and share it – are mirroring the same work.

Community at your core, not an add-on

The sweet spot for arts festivals is cultivating fandoms regardless of the line-up, staying true to values and creating a movement that isn’t reliant on the programme. It’s about storytelling the audience experience and constructing a legacy narrative. Music festivals do this to good effect with Glastonbury’s rituals and mythology, and Latitude’s warm and family-friendly atmosphere – events that are clear about the world they wish to embody.

UK arts organisations prioritising fandom over direct revenue include Rambert, whose rebrand gave them space to re-articulate their purpose and promise, with a focus on connection and relatability, showcasing both superhuman performances and the human performers behind them. Now, over 25,000 subscribers to their Rambert Plus platform help build genuine loyalty long before they purchase a ticket. 

The Tank Museum has committed to high-quality content for a niche but passionate fanbase on YouTube, monetising that loyalty via supporter memberships and Patreon. English Heritage has also collaborated with Channel 4’s Taskmaster to tap into the show’s huge following through special events at their sites.

Arts festivals are often time-limited events, but the community that surrounds them doesn’t need to be. The build-up and aftermath of a festival are where loyalty is built or squandered. The organisations that thrive will be those that treat their digital spaces – their newsletters, their social channels, their YouTube channels – not as broadcast channels but as common rooms: places where people gather because they feel genuinely at home. Fandom isn’t a marketing strategy. It’s what happens when an organisation earns the right to be loved.