Accessibility in live events is one of those topics where the gap between what operators say and what they do is enormous. Almost every festival and venue website has an accessibility page. Almost every event application includes a section on disability access. But the lived experience of Australians with disabilities trying to attend live events is, by most accounts, deeply frustrating.

I’ve been working on events for three decades, and I’m embarrassed to admit that for most of that time, accessibility was something I thought about late in the planning process, if at all. That’s changed for me, and it needs to change industry-wide.

The current state of play

The Disability Discrimination Act requires that people with disabilities have equal access to services and facilities, including entertainment events. In practice, compliance ranges from excellent to barely adequate, with most operators landing somewhere in the “well-intentioned but incomplete” zone.

Common problems include:

Wheelchair access that’s technically compliant but practically useless. A wheelchair viewing platform at the back of a venue, behind the standing crowd, with no sightline to the stage isn’t accessible in any meaningful sense. It’s a box-ticking exercise.

No accessible toilets, or accessible toilets that are locked and require finding a staff member. This is so common it’s almost universal at outdoor events, and it’s humiliating for the people affected.

No captioning or Auslan interpretation. For deaf and hard-of-hearing audiences, a live music event without visual access to lyrics or between-song communication is an incomplete experience.

Sensory overload without mitigation. For audiences with autism or sensory processing conditions, the noise, light, and crowd density of a typical live event can be overwhelming. Designated quiet spaces and sensory kits are still rare at Australian events.

What best practice looks like

The events that do accessibility well aren’t just ticking compliance boxes — they’re designing the entire experience with diverse audiences in mind.

Dedicated accessibility teams. The best festivals have specific staff responsible for accessibility, not just a line item in the site manager’s job description. These teams handle everything from accessible booking pathways to on-site assistance to post-event feedback.

Viewing platforms with dignity. Raised viewing platforms positioned with genuine sightlines, not afterthoughts shoved into corners. With companion spaces so disabled attendees can share the experience with friends. With bar access and toilet proximity. Basically, the same quality of experience as everyone else.

Information in advance. Detailed accessibility information published well before the event, including specific site maps, descriptions of terrain, noise levels, lighting conditions, and available facilities. People with disabilities need to plan, and they can’t do that without accurate information.

Quiet hours or sensory-friendly sessions. Some international events now offer relaxed performances or sensory-friendly sessions with reduced volume and lighting. A few Australian events have started experimenting with this, and the response has been overwhelmingly positive.

The business case

Beyond the moral and legal obligations, there’s a straightforward business case for accessibility. People with disabilities represent roughly 18% of the Australian population. Add their companions — because most people attend events with friends or family — and you’re looking at a significant percentage of the potential audience.

Events that build a reputation for genuine accessibility attract loyal audiences who return year after year and spread the word within their communities. The Accessible Arts organisation in NSW has documented cases where improved accessibility directly correlates with increased ticket sales and positive word-of-mouth.

What needs to happen

The industry needs to move from compliance-driven accessibility to experience-driven accessibility. That means:

Consulting with people with disabilities during the event design phase, not after everything is already planned. Nothing about us without us.

Investing in staff training. A venue’s accessibility is only as good as the knowledge and attitude of the person at the door.

Building accessibility costs into the base budget, not treating them as optional extras to be cut when budgets are tight.

And sharing best practice across the industry. The events that are doing this well should be talking about how, so that others can learn.

Everyone deserves access to live music and events. Getting this right isn’t just an obligation — it’s an opportunity to build a better, more inclusive industry for everyone.