Are you from Sydney or Melbourne? Are you convinced of the east coast’s superiority? You might have more to learn from Radelaide than you might think, writes Natalie Morley, GM, Adelaide and Perth, Atomic 212°.
Twenty years ago, when I moved from Sydney to Adelaide, I was struck by how deeply connected the city was – a place where people seemed to know each other from school, family, or generations past. These were people with deep-rooted relationships and a community that extended outward. A good example of this is Australia’s biggest arts festival, Adelaide Fringe, a phenomenon unlike anything I had experienced before, and one that could teach Sydney and Melbourne a thing or two.
Unlike other arts festivals, Adelaide Fringe is an open-access festival, meaning anyone can register a show and perform. This inclusivity extends from the beginning, with the festival poster design competition open to all. The result? A festival that is vibrant, diverse, and deeply embedded in the culture of the city. The question that other Aussie cities should be asking is: what can we learn from it?
The nature of an open-access festival means that the onus to succeed is on those creating the art, and the definition of success is for each participant to decide for themselves. Some get involved as a commercial exercise, some to develop and test new works, and some to get their first ever experience performing on stage to an audience. Funnily enough, after 64 years Fringe audiences have also become acutely aware of this; they are risk takers and the early-adopters of the performing arts world and offer artists a unique audience experience as a result.
Adelaide Fringe reminds us that art is for everyone, not just for ticket-buying audiences but for those who wish to create, participate and contribute.
Sydney and Melbourne, with their tightly curated arts scenes, could benefit from investing in an open-access model as it’s something that increases diversity, accessibility and creative experimentation, allowing emerging artists to step forward without institutional barriers.
Then there’s the economic and social impact (beyond ticket sales, that is). Adelaide Fringe isn’t just a cultural powerhouse – it’s an economic success story. Last year, over one million tickets were sold, generating $149 million for South Australia. Interstate visitors created over 306,000 visitor nights, and the average stay has expanded from two nights to seven nights in the past decade. This is a festival that drives tourism, hospitality, and local business growth.
And that impact goes well beyond economics. Ninety-four per cent of attendees said the festival had a positive impact on their mental health and connectivity, with a measurable $52 million in social well-being value. In an age where brands and businesses are increasingly expected to contribute to social good, the impact on well-being is interesting. What if major cultural or sporting events included well-being metrics in their reporting? What if more marketers measured impact beyond brand awareness and revenue?
Another great lesson from Adelaide Fringe is about breaking free from paywalls and exclusive spaces. As subscription-based streaming and exclusive ticketed events dominate entertainment, Adelaide Fringe reminds us of the power of accessible, communal experiences. The festival model is self-sustaining because it expands and contracts with demand – a critical advantage in an era where traditional festival models are struggling.
Other festivals are increasingly reliant on high-priced, exclusive experiences. But what if more events adopted a grassroots, open-access approach? What if more arts spaces were reclaimed for independent creators rather than just big-budget productions?
Looking at Adelaide Fringe, there is a clear business case to be had for creativity and creative risk-taking. Too often, campaigns focus solely on grabbing attention rather than shifting perspectives. The best creative work, like the best art, challenges audiences and invites engagement rather than passive consumption. Brands that integrate with cultural moments like Adelaide Fringe are not just buying visibility; they are aligning with a movement that celebrates inclusivity, spontaneity and raw creativity. That kind of authentic engagement builds deeper audience connections than any traditional ad buy (although those are still a necessity!).
For marketers, true engagement comes from participation, accessibility, and creativity. Adelaide Fringe thrives because it invites everyone to be a part of the experience – not just as spectators but as contributors. Brands that adopt this mindset can create marketing that sparks conversation, invites co-creation, and builds lasting cultural relevance. Sydney and Melbourne have long been cultural leaders, but the next step is embracing an open-access, community-first approach to creativity. Those who do will reap the benefits of deeper audience connections and more meaningful brand impact.
