Accessible Backstage: Accommodating Performers and Crew with Disabilities at Festivals

Introduction

Every successful festival strives to be inclusive on stage and off. While much attention goes toward making the festival experience accessible for attendees, it’s equally vital to ensure the backstage environment – where artists and crew work – is accessible to all team members. Accessible backstage design means that performers and staff with disabilities can navigate, communicate, and do their jobs without barriers. By proactively accommodating mobility, hearing, visual, or cognitive challenges among performers and crew, festival producers not only do the right thing morally but also unlock a wider talent pool and foster a culture of safety and respect. In an industry built on creativity and community, inclusion behind the scenes sets the tone for the entire event.

Accessibility backstage isn’t just a nice-to-have – in many places it’s a legal requirement under disability rights laws, and everywhere it’s a professional imperative. Beyond legal compliance, festivals have found that making accommodations yields practical benefits. Equipment ramps, adaptive tools, and flexible scheduling not only assist those with disabilities but often improve efficiency for everyone. A simple ramp that lets a wheelchair-using guitarist roll onto the stage will also help crew smoothly cart heavy gear. Enlarging print or adding visual cues for a lighting tech with low vision can prevent mistakes that affect the whole show. And an inclusive scheduling mindset – allowing extra time or breaks when needed – can reduce stress across the board. In short, designing a festival’s operations to include everyone leads to a stronger, safer production.

It’s also clear that many artists and crew have gone unsupported for too long. According to a 2019 industry survey, 70% of musicians hid a disability or health condition from event organizers out of fear it would affect bookings (attitudeiseverything.org.uk), and two-thirds ended up compromising their well-being to perform (attitudeiseverything.org.uk). That statistic should be a wake-up call: talented people are avoiding disclosure or even avoiding opportunities because they worry festivals won’t accommodate them. Forward-thinking festival producers are addressing this by adopting an “ask and accommodate” philosophy. Simply asking all booked artists and crew in advance if they have any access requirements – and then meeting those needs – builds trust and prevents last-minute crises.

This guide draws on decades of festival production experience to outline how to craft an accessible backstage. From the physical stage layout to communications systems and crew training, this guide covers practical adjustments that enable performers and staff with disabilities to fully participate. With real examples from festivals around the world, it will show that inclusion is achievable at any scale – from a boutique indie fest to a massive multi-stage extravaganza. By making backstage accessible, you not only comply with operations, people, and safety standards – you set an industry example where everyone on the team can thrive.

Designing Physical Spaces for All

The foundation of an accessible backstage is the physical design of stages and support areas. Festival sites can be tricky – temporary stages on grass, tight stage wings in tents, or historic venues with old infrastructure – but with planning and investment, you can remove barriers. Here are key areas to focus on:

• Stage Access (Ramps & Lifts): Every stage at your festival should have a way for someone to get on and off without using stairs. A sturdy ramp with a gentle slope (roughly 1:12 to 1:14 incline as building codes recommend) and railings provides safe access for wheelchair users and anyone with mobility challenges (megadeckstaging.com). Many professional staging companies offer modular wheelchair ramp systems that can integrate with temporary stages. Ensure the ramp is wide enough for large electric wheelchairs and has a non-slip surface (especially important if it rains at outdoor shows). If space is limited (since a proper ramp can be long), consider a small platform lift or elevator at the stage edge for performers and crew. For example, major touring productions often travel with portable lifts to get wheelchair-using artists onto high stages. Installing such solutions might require extra budget, but they are game-changers – think of how empowering it is for a drummer or DJ in a wheelchair to roll up to center stage confidently, rather than being awkwardly carried by staff.

• Backstage Pathways & Surfaces: Look at the routes a performer or crew member takes from arrival to the stage. Are there steps into the green room or production office? Narrow doorways to the dressing rooms? If so, provide ramps or level access at all entrances, and widen pathways by removing unnecessary clutter or using portable decking over uneven ground. On outdoor sites, use ground protection mats or plywood to create smooth, solid paths across grass, mud, or sand. Backstage cable runs must be covered or channeled so they don’t become trip hazards or barriers to anyone using mobility devices. In tight stage wing areas, be mindful to leave enough clearance for someone on crutches or using a cane to maneuver around speaker stacks, lighting stands, or other equipment. Good layout planning in advance can prevent a situation where, say, a keyboard player with a walker can’t actually reach their instrument because the side-stage is too congested.

• Accessible Facilities (Green Rooms & Bathrooms): Backstage hospitality should cater to everyone on the lineup. At least one dressing room or green room should be wheelchair-accessible – meaning located on the ground floor (or reachable by a lift), with a wide doorway and enough turning space inside for a wheelchair. Provide some chairs with backs (not only low couches), as artists with certain conditions may need firm seating. If you use trailers or portable cabins for artist dressing rooms, request an accessible unit with a ramp or have a temporary ramp ready to install. Don’t forget backstage toilets and showers: an accessible portable toilet or bathroom trailer is essential so that performers or crew with mobility disabilities don’t have to trek to the public accessible restrooms. Something as simple as a higher toilet seat and grab bars, or a roll-in shower for multi-day festivals, can make a huge difference in comfort. Small touches help too – e.g. placing mirror and sink heights that can be reached from a seated position, and ensuring door handles are levers (easier for people with limited hand dexterity than round knobs).

• Stage Layout & Safety: Think about on-stage elements that could affect performers with disabilities. Mark the edge of the stage or any steps with high-contrast tape or paint so that someone with low vision can detect where the drop-offs are. If you have a complex stage with multiple risers, ensure there’s an easy way to navigate them (ramps between risers, for instance). Keep pyrotechnics, trapdoors or other stage effects in well-defined areas and communicate about them – for a performer who is blind or Deaf, surprise effects can be disorienting or unsafe if not warned. In rehearsals or soundcheck, give artists with disabilities extra time to familiarize themselves with the stage layout. Some festivals assign a backstage assistant or stagehand to specific artists who might need a bit of guidance getting on/off stage or moving gear. Having a designated helper ready – who has been briefed in advance – maintains the artist’s dignity while ensuring they have the support to perform confidently.

• Quiet Spaces & Sensory Considerations: Not all disabilities are visible. Backstage can be an overwhelming environment – tight schedules, loud monitors, and bright lighting. Try to provide a small quiet area or low-sensory room for any artist or crew member who might need to step away from stimulation (this is especially useful for those on the autism spectrum or with anxiety/PTSD). It could be as simple as a spare tent or trailer set aside with minimal noise where someone can decompress. Also be mindful of things like strobe lighting or fog machines used side-stage; if you have a crew member with epilepsy, for example, you’ll want to ensure their work area is free from seizure triggers (or that they can opt out of working near those effects). Flexibility is key: you might allow a lighting tech with light sensitivity to do their programming work off-stage in a covered area rather than on an open glare-y riser. These adjustments not only accommodate specific individuals but tend to create a calmer, more focused backstage vibe for everyone.

By thoughtfully designing the physical backstage and stage setup to be barrier-free, you create the canvas on which all performers and staff can excel. It sends a message to your team (and to visiting artists’ teams) that you’ve got their backs – literally, that the backstage has their back.

Adaptive Communication Methods

A festival backstage runs on constant communication – cue calls, schedule updates, safety info – but what happens if a team member can’t hear the radio or doesn’t catch that fast-talking stage manager’s instructions? Inclusive operations demand adaptive communication methods so that no one misses critical information due to a hearing, speech, or visual disability.

• Visual Alerts and Cue Systems: For crew or artists who are Deaf or hard of hearing, supplement audio communications with visual ones. Many festivals already use cue lights to coordinate silent stage cues – for instance, a small light that turns green when it’s time for a band to go on stage. Expand these practices for accessibility: use flashing lights or colored beacons backstage to signal important announcements (like “clear the stage” or emergency alerts). You can set up a simple system where a particular light at the side of the stage blinks when there’s a change in schedule or if someone needs to check their device for a text message. In rehearsals or performances, consider a tablet or screen that displays real-time cues or a simple text feed (“5 minutes to set change,” “hold position,” etc.) that someone can glance at if they can’t hear the in-ear or shouted cues. This kind of redundancy benefits everyone – even hearing crew appreciate having a visual confirmation in the noisy bustle of backstage.

• Adaptive Two-Way Communication: Traditional walkie-talkies and headsets may not work for a stage manager or audio tech who is Deaf. One solution is text-based communication apps (on smartphones or tablets) designated for production chatter. Apps or closed messaging groups can mirror the info shared on radios. For example, if the lighting crew says “spotlight ready” on the radio, someone can quickly type “spot ready” into a group chat that the Deaf crew member monitors. Some production teams set up dedicated Wi-Fi networks and use chat platforms or even specialized event crew apps to coordinate – which inherently creates a written log of all comms. This not only includes everyone, but also provides a handy reference if someone misses something. For crew with hearing impairments, also look into vibrating alert devices – there are wearable bands or pagers that vibrate in specific patterns to signal cues (some performing arts companies use these to cue Deaf performers when to start or stop). A vibrating stage floor monitor (essentially a low-frequency speaker) can help a Deaf musician feel the beat and stay in time with the band. These technologies, once exotic, are increasingly affordable and can often be rented along with your audio-visual equipment.

• Sign Language and Interpretation: Having a sign language interpreter on staff or on call can be invaluable. If you know in advance that a Deaf artist is performing, arrange for a qualified interpreter to be with them during soundcheck, rehearsals, and downtime to facilitate communication with the crew. The interpreter can interpret safety briefings, technical discussions about sound levels, or casual backstage conversations that hearing folks take for granted. Some festivals have begun including ASL or BSL interpreters not only for the audience’s benefit but also as part of artist relations – ensuring Deaf artists or crew can communicate with security, stage managers, etc. If an interpreter isn’t available for all hours, at least brief key staff in basic sign language for common phrases (hello, ready, 5 minutes, etc.) or have notebooks/whiteboards handy for quick written communication. The goal is to make sure a Deaf vocalist can easily tell the monitor engineer how to adjust their mix, or a crew member who signs can understand exactly when and where to move that prop on stage. No one should be left guessing what’s happening due to a communication barrier. As an example, Brazil’s massive Rock in Rio festival recently made headlines for integrating sign language interpreters into its live show production (visible on big screens) for Deaf audience members (www.ticketfairy.com) – a move that also raises awareness among all staff that sign language is welcome in the festival environment.

• Accessible Information Formats: Consider how schedules, set lists, and other info are shared with your team. For someone who is visually impaired, a standard print schedule can be problematic. Provide key documents in alternative formats when required: large-print, high-contrast text, or even Braille for those who read it. Digital formats are often easiest – a crew member with low vision might use a screen reader on their phone to read an HTML or Word schedule file. Similarly, any safety briefing videos or important announcements should have captions (for the hard of hearing) and visual descriptions as needed. If you’re using an app or online portal for crew information, ensure its accessibility features are enabled (e.g. compatibility with voice-over screen reading, simple layouts, etc.). For neurodivergent staff and artists, clear and consistent communication is key: give plenty of notice for changes, use plain language (avoid idioms or ambiguous instructions), and confirm understanding. Some festival teams create a simple daily briefing email or group message each morning that lays out the day’s plan in straightforward bullet points – helpful for someone with ADHD who might struggle with last-second changes or long-winded meetings.

The bottom line is to build multiple channels of communication so that everyone receives information in a way they can process. By layering auditory, visual, and written methods, you create a safety net – if one method doesn’t work for someone, another will. This not only accommodates disabilities, but also covers situations like low radio batteries, noisy environments, or multilingual crews. It’s all about clarity and redundancy, which are hallmarks of good festival operations.

Inclusive Scheduling and Workflows

Festival schedules are notoriously tight, but a bit of flexibility and foresight can make them far more inclusive for performers and crew with disabilities. Inclusive scheduling means recognising that some people may need slightly different work patterns or timing considerations – and that accommodating these doesn’t have to disrupt the show, especially if planned early.

• Build in Extra Time: If you know an artist or crew member has a mobility limitation, plan for tasks to take a little longer. For example, a drummer who uses a wheelchair might need a few extra minutes to get onto the drum riser and settled, or a stagehand with one arm might take longer to coil cables. Adjust your run-of-show or stage changeover schedule to account for this rather than expecting everyone to conform to a one-size-fits-all speed. It could be as simple as adding 10 minutes to a soundcheck or scheduling that band’s changeover first so they’re not rushed. Communicate these adjustments to the team so everyone knows the plan. By doing so, you prevent the situation of an artist feeling panicked because they’re being hurried up the ramp, or a crew member skipping a break they need just to keep up. Many veteran producers can share stories of when an act needed unexpected extra time – for instance, when Foo Fighters’ Dave Grohl performed from a throne after breaking his leg, festivals accommodated his longer setup time and mobility needs without issue (www.nbcconnecticut.com). The show still ran smoothly, because the schedule flexed to fit the person, rather than forcing the person into an inflexible schedule.

• Mindful Slot Assignments: Sometimes, small tweaks like assigning a suitable set time can make a festival more accessible for an artist. Consider whether a performer’s disability might be affected by certain times of day or conditions. For instance, an older artist with a medical condition might struggle with a very late-night slot (past their usual medication or waking times), or a singer with a fatigue-related illness might do better in the evening after resting during the day. Wherever possible, work with agents and artists to find set times that set them up for success. Similarly for crew scheduling – perhaps avoid putting a crew member with diabetes on an uninterrupted 6-hour shift through meal times, or ensure a crew member with chronic pain isn’t assigned the most physically grueling load-in shift without help. These adjustments are essentially good people management: know your team and allocate roles and call-times that play to their strengths and needs. If something can’t be changed (sometimes set times are locked in), then mitigate it – maybe arrange an extended break afterward, or provide transportation to and from stage for the person if they have to cover a far distance late at night.

• Breaks, Rest and Recovery: Festivals are marathon events for those working them. For crew members with disabilities (or any crew, really), adequate breaks are crucial. Schedule regular short breaks in long shifts, and ensure there’s a quiet, accessible place backstage for staff to sit or lie down if needed. If a crew member has a condition that requires periodic rest (like many do, from bad backs to anxiety issues), you might implement a buddy system to cover each other’s duties for 10 minutes here and there. Also be prepared to adjust on the fly: if a particular crew member looks exhausted or is showing signs of strain, have a floater or spare hand who can step in so they can rest. In terms of performers, consider giving any artist who might need it a little more downtime between arrival on site and performance. Rushing from the car to stage is stressful for anyone; for someone with a disability it can be outright dangerous. If an artist who is blind, for example, arrives only 15 minutes before their set, they won’t have time to orient themselves and could be disoriented on stage. So, build in cushion – invite them to arrive earlier and relax, or schedule them after a slightly longer changeover so no one is scrambling.

• Workflow Adaptations: Look at how tasks are assigned and see if there’s a more accessible way to accomplish the same goal. For example, if your standard workflow has crew climbing ladders to adjust lights, and you have a crew member who cannot climb, consider investing in motorized winch systems or ground-controlled light rigs for that stage so adjustments can be made from the ground. If a photographer on your team uses a wheelchair, maybe arrange for a platform or riser they can use to shoot over crowds instead of weaving through mosh pits. Oftentimes, reassigning duties can help: the crew member with a bad knee might swap tasks with someone who doesn’t mind taking the stair-heavy assignment, while they handle an extra console duty in return. Cross-training your team in multiple roles helps facilitate these swaps without detriment. When everyone is flexible, you can shuffle responsibilities in a way that ensures all necessary tasks are covered and everyone is operating within their capabilities.

In essence, inclusive scheduling is about anticipating needs and avoiding needless hurdles. It’s much easier to allocate an extra 15 minutes or an alternate task in advance than to deal with a preventable mishap or a burnt-out team member later. Festivals that embrace this find that the overall operation actually becomes more resilient – when you’ve planned for contingencies and individual differences, you’re less likely to be thrown off by the unexpected. And in the high-stakes festival environment, that’s a huge win for safety and sanity.

Training Staff and Fostering Inclusive Culture

Even with great infrastructure and plans on paper, the human element is what makes an accessible backstage truly work. Training your team – from top managers to volunteers – on disability inclusion and etiquette is one of the best investments you can make. An inclusive culture backstage means everyone, with or without disabilities, feels safe, respected, and able to do their job.

• Disability Awareness Training: Before the festival, incorporate a training module (or invite a specialist speaker) on working with colleagues and artists with disabilities. Cover practical etiquette: for instance, don’t assume someone needs help – ask first. Teach staff how to guide someone who is blind without manhandling them, how to have a conversation with a Deaf person (speak normally and make eye contact, even if an interpreter voices for them), and how to use “people-first” language (e.g. say “person who uses a wheelchair” rather than “wheelchair-bound”, unless the individual has expressed a different preference). Role-playing scenarios can help: what do you do if a crew member who is Deaf is alone when an urgent announcement is made? How will you handle it if a headlining singer has a panic attack just before going on stage? Having walked through these possibilities, staff are far less likely to freeze or make a misstep in the moment. Emphasise that inclusion is everyone’s responsibility, not just the job of an “access coordinator”.

• Appoint Access Liaisons: It can be invaluable to designate one or more team members as Accessibility Liaisons or points of contact for access-related needs. Often, this role falls under the Artist Liaison or Stage Manager duties – but giving it explicit importance ensures it’s not overlooked. The person in this role can double-check that ramps are in place, communicate with any artists who requested accommodations to make sure those are delivered, and be on call during the festival for any issues. For example, if a crew member’s assistive device malfunctions (say an electric wheelchair’s battery dies unexpectedly), the access liaison can have a plan ready – maybe they’ve arranged a spare mobility scooter or have contacts for urgent repairs. Knowing who to call can save precious time. These liaisons can also gather feedback post-event from disabled team members or artists about what could be improved, creating a feedback loop for constant improvement.

• Emergency Preparedness for All: Safety planning must account for performers and crew with disabilities. In staff trainings and briefings, explicitly cover how to assist a disabled person in an emergency evacuation or similar scenario. For instance, if there’s a need to evacuate a stage area, ensure that those who can’t hear alarms will be informed (perhaps a buddy system where a hearing colleague has responsibility to alert a Deaf colleague, or use of visual alarm lights). If a crew member with mobility impairments is working on an elevated platform, have a plan for how they’ll get down quickly (could be an evacuation chair or simply assigning someone strong to assist). Conducting drills or walkthroughs that include these elements is extremely valuable. It’s about not leaving anyone behind, literally, when the pressure is on.

• Lead by Example: Festival leadership and veteran producers should model inclusive behavior. Small things like using the same accessible route everyone else uses (instead of hopping up the stage stairs) sends a message that these features aren’t “extras” for a few, but part of the standard operating procedure for all. When crew see the production manager reminding everyone to use person-first language, or watch the stage manager double-check that the interpreter is standing in the light before a Deaf artist’s set, they take note. This top-down commitment makes inclusion part of the festival’s DNA. One powerful practice is to celebrate the contributions of your disabled staff and artists openly – not in a patronising way, but by giving credit where it’s due. For example, if your lighting designer who happens to be legally blind created an amazing light show, let people know the great work they did, which incidentally breaks stereotypes about what professionals with disabilities can do. Recognizing these successes in team meetings or post-event reports builds pride and normalizes the presence of people with disabilities at all levels of production.

• Continuous Improvement Mindset: Encourage a culture of feedback and learning around accessibility. Perhaps during your post-festival debrief, have a dedicated section on “Accessibility and Inclusion: what went well, what can we do better?” Create an environment where crew with disabilities feel comfortable voicing if something didn’t work for them – without fear it will reflect on their job. Similarly, able-bodied staff should be able to suggest ideas (“I noticed our backstage paths got muddy – maybe more track mats next year for our wheelchair users?”). By treating accessibility as an ongoing team effort, you ensure it keeps pace with the festival’s evolving needs. Many festivals partner with disability advocacy organizations or invite auditors to assess their site; others follow industry charters or checklists. For instance, the UK’s Attitude is Everything offers a Charter of Best Practice for live events. Festivals that enroll often get expert guidance and an external perspective on how to improve year over year. When your team sees improvement (like this year’s new accessible stage risers or additional sign language support), it boosts morale – it shows the festival cares about its people.

An inclusive backstage culture doesn’t happen overnight, but the effort is absolutely worth it. Not only does it prevent incidents and ensure compliance with safety standards, it also creates a sense of loyalty and community among the crew and artists. People perform their best when they feel valued and understood. There’s a ripple effect too: when word gets out that your festival treats disabled artists and crew well, more will want to work with you, and others in the industry may follow your lead.

Broadening the Talent Pool and Setting an Example

One of the most compelling reasons to prioritize backstage accessibility is the payoff in talent and goodwill. By proactively addressing the needs of performers and crew with disabilities, a festival can tap into a wider pool of talent and expertise that might otherwise be overlooked. There are world-class musicians, DJs, producers, and technicians out there who happen to have disabilities – and they choose gigs (or employers) based on where they feel welcomed. If your festival is known for its inclusive approach, you become a magnet for top talent who might skip other events.

Consider the case of Spain’s Cooltural Fest, which not only accommodates disabled attendees but also actively hires people with disabilities onto their crew. In recent editions, dozens of disabled individuals have worked in roles from access support to catering and production at Cooltural (www.ticketfairy.com). This kind of representation behind the scenes sends a strong message in the industry. It shows that a festival isn’t just paying lip service to inclusion – it’s living it. And what’s more, those staff bring unique perspectives and problem-solving skills that benefit the event. Similarly, when festivals book more artists with disabilities and give them a positive experience, word spreads. Other performers take note that “Hey, that festival has a great setup – they even had interpreters and ramps for the Deaf hip-hop artist last year,” which can influence them to say yes to your invite.

There have been some incredible success stories: From major UK events like Glastonbury Festival working with Attitude is Everything to showcase Deaf and disabled artists on its stages, to smaller boutique festivals weaving accessibility into their brand identity. When Stevie Wonder (who is blind) headlined Glastonbury, he publicly commended the festival for its accessibility efforts and called on others to follow suit (archive.disabilityarts.online). And indeed, as Attitude is Everything’s founder Suzanne Bull noted, “If Glastonbury, a 900-acre farmland site, can become accessible and put disabled artists on, then so can every other festival” (archive.disabilityarts.online). That statement rings true – no festival is too big, too small, or too unique to make inclusion a priority. Often it just takes the will to ask “how can we make this work?” rather than assume something is impossible.

Aside from talent and ethics, there’s an industry leadership angle. Festivals have always been cultural trend-setters. Embracing backstage accessibility positions your festival as an innovator and leader in the live events field. You’re not just meeting the baseline of Operations, People & Safety standards; you’re raising the bar. This can have positive ripple effects: sponsors and partners increasingly value diversity and inclusion, so demonstrating these values can strengthen those relationships. Fans and media notice too – stories of a festival doing the right thing tend to generate positive buzz. It’s not about seeking praise for basic decency, but rather about standing out as a festival that genuinely cares about its community (including the internal community of staff and artists). In an age where social responsibility matters, this can even give you a marketing edge – though the goal is inclusion for its own sake, it’s okay to recognize the PR benefits of being ahead of the curve.

Finally, improving accessibility backstage tends to improve things for everyone on the team, even those without disabilities. The environment becomes safer, more organized, and more humane. When you invest in a well-constructed ramp, nobody trips on the stairs. When you provide clear communication in multiple formats, everyone is better informed. When scheduling is humane and flexible, burnout goes down for all. In that sense, accessibility measures are often just good festival management practices.

By taking care of your team’s diverse needs, you cultivate a positive atmosphere where people can focus on what brought them there – creating an unforgettable festival experience. It’s about unleashing the full potential of every crew member and artist. And when that happens, the results show on stage: better performances, smoother operations, and a festival ethos that resonates with inclusivity and respect.

Key Takeaways

• Plan Accessibility from Day One: Integrate accessibility into your site design and operational planning. Ensure stages, backstage areas, and facilities can be navigated by those with mobility aids, with ramps, lifts, and barrier-free routes at all key points.
• Ask Performers and Crew About Needs: Don’t wait for someone to speak up (they might not). Proactively ask all booked artists and staff if they have any access requirements well ahead of the event. This simple step builds trust and allows you to accommodate needs without last-minute scrambles.
• Adapt Communication Systems: Use multiple communication methods – auditory, visual, and written – so that everyone gets the message. Incorporate tools like visual cue lights, text-based crew chats, sign language interpreters, and captioned info screens to keep Deaf or hard-of-hearing team members in the loop at all times.
• Flexible Scheduling and Roles: Be willing to adjust schedules, set times, and crew assignments to suit individuals’ needs. Allow extra setup time for artists or crew with disabilities, provide sufficient breaks, and assign duties creatively so that each person can excel in a role that suits their abilities.
• Invest in Training and Culture: Train your staff on disability awareness and safety procedures for assisting colleagues with disabilities. Foster an inclusive backstage culture where accessibility is everyone’s responsibility and where team members feel comfortable advocating for what they need.
• Learn from the Best (and Your Own Experience): Take inspiration from festivals leading in inclusion – many have successfully hosted wheelchair-using headliners, Deaf performers with interpreters, and mixed-ability crew teams. Continually seek feedback from your artists and crew after each event and refine your accessibility measures year over year.
• Inclusion Benefits Everyone: Remember that making backstage accessible isn’t just for a minority – it tends to create a safer, more efficient environment for the entire team. By valuing every performer and crew member, you’ll build loyalty, unlock new talent, enhance your festival’s reputation, and set an example that raises industry standards.

By embracing these takeaways, festival producers can ensure that no talent or staff is left behind. An accessible backstage is more than a checklist item – it’s a commitment to equity and excellence that will elevate your festival’s operations, people, and safety for years to come.