Nicola Benedetti: Edinburgh's visitor levy is costing EIF £50,000 a year

Benedetti, director of the Edinburgh International Festival (EIF), which launches this week, called for a "fair, open and continued conversation" around Edinburgh's visitor levy, warning that there is a sense of complacency around the festivals.

She said balancing costs was a constant battle, warning that "nothing we ever put on our stage is commercially money-making", but said the festival, which begins this weekend, was seeing an “unbelievably healthy” take up of tickets.

The opening concert, All Rise, is a performance by the Lincoln Jazz Orchestra, led by Benedetti’s husband, Wynton Marsalis, who also composed the 12-movement symphony.

The visitor levy came into force last month, putting a five per cent tax on overnight accommodation. Edinburgh Festival Fringe chief executive Tony Lankester said last week that the festivals were “not seeing any of it” and called for more investment from the council.

Benedetti said: “Obviously, there are some very live conversations at the moment around the visitor levy and what the mix of incredible festivals bring to the city economically, and I think that that that dialog has to be fair, it has to be open, and it has to be a continued conversation.

“The International Festival is looking for reinvestment into events, like this festival, that bring tourists into the city. We strongly support the principle of the visitor levy – bringing more money into the city that will enable improvements for residents and visitors is a good thing.

“Unfortunately, as currently designed it is costing the International Festival over £50,000 per year and that needs to be addressed. We continue to engage constructively with the council on how levy income is invested, and believe there's a strong case for reinvestment in the major cultural events that help generate such strong visitor demand in the first place.”

She warned authorities believe the festivals will always be there, no matter what the financial situation.

In June, the Edinburgh TV Festival announced it is to leave the capital after 50 years and relocate to Greater Manchester next year, citing “increasing challenges” around rising costs in the Scottish capital.

She said: “I sometimes think that there is a sense of, 'The festivals are here; they're not going to go anywhere'. Rather than, 'Oh my goodness, this is something that we need to ensure we protect and strengthen and work with and utilise as a beacon of Scottish success that can do well for the entire country internationally'."

She added: “It's just what so often happens if things have been around for a long time, that no matter the circumstances, that they pull it out the bag. I think I think all we can do is continue to restate the case of how how much in terms of morale, tourism, general excitement, international prestige, and importantly the impact on on the the economy of the city - how much the combined festivals do do matter and do bring to Edinburgh.

“It's one of these things where I think people think that the risk isn't real and these things [cuts] can't possibly happen until they do.”

She said accommodation costs for artists visiting Edinburgh to perform at the festival have risen, but said the EIF has so far been able to balance costs, producing one of the “biggest and highest level” festivals in its history this year, adding that money has a “finite, sobering quality to it”.

Other festivals have warned that the soaring costs are becoming prohibitive, with Edinburgh International Jazz Festival executive producer Fiona Alexander warning the event’s hotel costs in the capital have more than doubled since the pandemic.

Benedetti said: “We have a fairly good idea of where those numbers are going to lie ahead of time, and of course everything, including inflation and cost of living and cost of the city during the month of August. All of these things are factored into the fees we can pay, who we can bring over, it's it's all a matter of just careful and and conscientious working with that budget in and out.”

She added: “I think it's always worth reminding people that nothing we ever put on our stage is commercially money making. It just that's not the business we're in.

The EIF has a controversial dynamic pricing system for its higher end tickets, which Ms Benedetti says is done with a “human” touch - to allow the sale of cheaper tickets aimed at breaking down barriers for access.

“Our audiences team are incredibly conscientious about trying to understand fully what people what people want and what people need and what barriers are in place to stop people having this phenomenal experience,” she said.

“I think that the the pressure on us to do that right is something that we maintain every year and we can't get every single calculation right because every single show is so different. But I think we're doing we're doing a very good job at what is a very difficult balance to strike.”

The festival has this year launched a ban on mobile phones in events for the first time, which she says has had an “overwhelmingly positive” response from the public.

The decision came as the EIF said every single performance of its Queen's Hall chamber music series was disrupted by mobile phone use last year. The “Lights Down, Phones Off” campaign calls for audiences to switch off devices to ensure calls, notifications and alarms do not disrupt its performances.

Benedetti recalled her first tour to China, when ushers used laser pointers to reprimand people using phones during concerts. She said she did not want a “militant style” of enforcement.

She said: “We’ve had a lot of discussions around this because one thing we don't want is a militant style, scolding and telling people off left, right, and centre in a a concert hall. That doesn't provide either a nicer nor a less distracting environment. We're working very hard as a team to make sure that is done in a respectful and discreet way.”

Council leader Jane Meagher said: “Our visitor levy will raise tens of millions of pounds a year for us to reinvest in everything that makes Edinburgh so special – benefitting everyone who lives in, works in and visits the city. It will help us to strengthen the services and public spaces we all depend on, while better managing the effects of tourism and major events.

“Cities and destinations across the world have successfully managed similar schemes for many years and we’re confident our five per cent rate strikes the right balance for Edinburgh. Our focus is on reinvesting the proceeds of the levy in areas that maintain and enhance our reputation as one of the most popular and enjoyable destinations in the world, and continuing to support our partners across the city’s cultural sector in delivering a programme of events we can all be proud of.”