![youtube ellie goulding bumbershoot youtube ellie goulding bumbershoot](https://themusicessentials.com/wp-content/uploads/2016/01/unnamed-1-1.png)
That was a conscious decision to have more women, which is still a very big problem with festivals. Is there a particular balance you are trying to strike between regional or national acts? Was it a conscious decision to book local acts ? We can’t say “Oh, I wan’t that person, I want this person.” So to go out and get the caliber of artists we did, it worked out pretty well. Then we got Hozier… We don’t have the carte blanche of a bigger festival like Lollapalooza or Coachella. The Weeknd came on board and that was very exciting. But Chris Stapleton rules, and Kacey Musgraves rules. Truthfully, I wanted Sturgill and he couldn’t do it. I wanted to get some of the new country in there. We got Ellie Goulding at the end of a big year for her, with her arena run and eventually everything started falling into place. We got Cake, Social Distortion and Neko Case. I wanted to pull in some of the older, classic acts but due to things like health, we ended up booking it younger. We started looking for who might be touring, who might be available, while trying to stay true to the history of the festival. I started in January, already a good four to five months behind on this. Most of these festivals start start booking a good year out. What are you looking for in an act? How do you go about looking for them? So we started negotiations with the city of Seattle, put in a lot of work in November and December in the hopes that we could hopefully spring the festival back to life and bring in a little more talent. As a Seattle native who had grown up with the festival, I couldn’t stomach the thing going away.
![youtube ellie goulding bumbershoot youtube ellie goulding bumbershoot](https://i.ytimg.com/vi/Navl4fYI-Zk/hqdefault.jpg)
For the last few years, it hadn’t made money and was starting to fall apart financially. When we came on to the fest, it had gone through this very interesting progression. How did you come to your position booking for Bumbershoot? Queirolo is vice president of Talent at AEG Live Pacific Northwest the parent company oversees Coachella and New Orleans Jazz Fest, among other signature music festivals. With that in mind, Uproxx sat down with Chad Queirolo – the man in charge of booking musical acts for Seattle’s 45th Bumbershoot Festival – to figure out how it all comes together. What typically gets lost in the constant churn of fest news (and rarely garners a thought from sunburnt fest-goers) is just how hard it is to pull off an A-list festival and the logistics of getting several hundred touring acts in the same space at the same time. Throughout the period from spring to early fall known as “festival season,” readers and writers alike are kept busy with lineup announcements, biggest moments round-ups and thinkpieces trying to suss out what the most “problematic” thing going was. Grab your tickets to catch this duo’s explosive set of sounds ranging from EDM to psych, hip-hip and splashes of chillwave.Lots of ink gets spilled over music festivals every year. With five studio albums and four EPs under their belt, the EDM duo show no signs of slowing down. The duo has also performed at major festivals including Austin City Limits, Made In America, Day N Vegas, Bumbershoot, Electric Forest, Corona Capital and Splash House. 1 on Billboard’s Next Big Sound chart after releasing their remix of Tove Lo’s “Habits (Stay High),” which gained them popularity, amassing 800 million views on YouTube and has since since surpassed over 1 Billion Spotify Streams. They’ve since shared the stage with pop stars including Tove Lo and Ellie Goulding, and worked with Cubic Z (from We the Best). They formed in 2005 originally making hip-hop music before venturing into electronic production. Hippie Sabotage consists of brothers Jeff and Kevin Saurer, hailing from Sacramento, California.