Long associated with hedge trimmer demonstrations, tractor exhibitions and the sale of verandas, trade and agricultural fairs are now radically changing their face.
The Châlons-en-Champagne Fair celebrates its 80th edition. Since 1999, the event has become accustomed to organizing, alongside its agricultural fair, a festival called Foire en scène. This year, he presents an impressive poster with Matt Pokora, Mika, Julien Doré and Feu! Chatterton… The undisputed leader in this mix of genres, the Châlons fair is not alone in this niche. The fairs of Nancy, Niort, Tours and Bordeaux also have musical programming. By placing music at the heart of their offering, they no longer just seek to liven up their nightlife: they reinvent themselves as true cultural festivals.
This artistic ambition is not new, however. The absolute reference in this area remains the Alsace Wine Fair in Colmar. From the middle of the 20th century, Colmar organizers understood that a simple exhibition hall would no longer be enough to retain the public in the long term. By building a 10,000-seat open-air theater - the famous “Coquille” - and welcoming major artists every summer (from Gims to Niska, including Bigflo & Oli), Colmar has demonstrated the power of a hybrid model. What was once an Alsatian exception is now becoming a norm. From Metz to Saint-Étienne, the “festivalization” of fairs is now essential as a global strategic necessity to attract a wide audience.
A “global experience”
Several converging factors explain this musical shift. The first is economic and sociological. “The classic merchant model is running out of steam in the face of direct competition from online commerce and the rapid evolution of consumption patterns,” analyzes the director of a trade fair that recently focused on diversifying its offering:
“The public no longer simply comes to a fair to compare window quotes or discover a household robot. To encourage visitors to make the trip with family or friends, we must now guarantee them an overall, festive and friendly experience. »
The second argument lies in the urgency of rejuvenating the audience. The fairways have long suffered from a marked aging of their attendance. Programming pop, rap or electronic music makes it possible to once again attract 18-35 year olds as well as young families, recreating a visiting reflex among generations who no longer spontaneously pass through the doors of exhibition centers.
“Heir to medieval fairs”
Finally, a major concert scheduled at the end of the day keeps visitors on the site longer, which directly benefits the refreshments, catering areas and local exhibitors. Music also responds to a fundamental need for gathering, as Bruno Forget, general commissioner of the Châlons Fair, explains: “I am an heir of medieval fairs. It’s a time when people come together, in conviviality, with a mix of moods and ideas. » On the Colmar side, the observation is identical: the musical programming serves as a major appeal product to then irrigate the entire economy of the show and support regional winegrowers.
Our Music section
Therefore, are agricultural fairs becoming real lifestyle festivals, structured around large food courts and musical stages? In any case, they have a precious advantage compared to classic cultural festivals: a raw, lively and concrete territorial anchor. Between two concerts and a gourmet break, the public comes into direct contact with breeders, producers and those involved in the ecological transition. It is perhaps there, between a musical scene and discussions on adaptation to the world of tomorrow, that the new popular gatherings of the 21st century are being invented.
