The CEO of Norway’s Øya Festival has stated that boycotts
targeting the festival’s ownership due to alleged financial links to Israel
will not change the situation in Israel. This stance comes amid protests and
artist criticisms over the involvement of investment firm KKR, which owns
Superstruct Entertainment, the operator of Øya Festival, and its ties to
Israeli investments amid the Gaza conflict.
Boycotts and Protests Surrounding Øya Festival’s Ownership
In the wake of increasing international outrage over the
ongoing Israel-Palestine conflict, the Norwegian Øya Festival has become
embroiled in controversy due to its parent company’s financial connections. The
festival is operated by Superstruct Entertainment, owned by the global
investment firm Kohlberg Kravis Roberts & Co. (KKR). KKR has faced sharp
criticism for its investments linked to Israeli settlements and activities in
Gaza.
As reported by IQ Magazine, the youth environmental
organisation Nature and Youth expressed a strong desire to end their
long-standing partnership with Øya Festival as a form of protest against KKR’s
ownership. However, they remain contractually bound to continue their
involvement for now. Additionally, pro-Palestinian activists have staged
protests at the festival’s gates, symbolically lying down to represent victims
from Gaza, and calling for boycotts to pressure the festival to sever ties with
KKR.
Festival Boss Rejects the Efficacy of Boycotts on the Israeli Situation
The CEO of Øya Festival openly addressed these boycott
campaigns and protests. As covered by Far Out Magazine on August 12, 2025, the
festival boss stated that boycotts targeting the festival’s ownership would not
impact or change “anything happening in Israel”. He urged for alternative means
of activism rather than targeting the festival itself.
This statement underlines a reluctance to disassociate from
the powerful investment backers, stressing the complex interdependencies
between global investment portfolios and cultural events. The festival’s
management appears committed to maintaining the platform as an artistic and
public conversation space despite the charged political atmosphere.
Artists Using the Festival as a Platform for Political Statements
Despite the ownership controversy, several artists have used
Øya Festival’s stage to bring attention to the Palestine cause and criticise
KKR’s involvement in Israeli military activities.
The Irish rap trio Kneecap, known for their outspoken
political stance, delivered a politically charged performance on August 8,
2025. As reported by Billboard and Vinyl Me Please, Kneecap condemned the
Norwegian government for its investment through the sovereign wealth fund,
indirectly supporting what they described as “genocide” against Palestinians.
Mo Chara, one of the group’s frontmen, lashed out at KKR’s involvement and
called on the crowd to oppose any company investing in Israel while war crimes
continue. This was met with enthusiastic crowd support.
Kneecap’s message was preceded by a stark video screen text
stating, “Over 80,000 people have been murdered by Israel in 21 months,” which
ignited cheers. The group acknowledged the “livestreamed genocide” in Gaza and
urged continued activism despite audience fatigue around the topic. The band
also referred to ongoing legal challenges Mo Chara faces in the UK due to
alleged terrorism charges related to political gestures at past concerts, which
he and the group vigorously deny.
Irish rockers Fontaines D.C. also joined the chorus of
pro-Palestinian sentiment, displaying on-screen messages reading “Free
Palestine” and equating Israel’s actions to genocide during their Øya
performance. Their statements echoed a growing trend of artists using global
music festivals to spotlight human rights issues.
Meanwhile, the Swedish band Refused chose not to boycott the
festival but to use their platform loudly in support of the Palestinian cause,
reflecting a different form of activism among artists at events linked to KKR.
Broader Industry and Festival Responses
KKR’s ownership of Superstruct, which runs over 80 music
festivals globally—including Øya, Sónar, Wacken Open Air, and others—has made
the investment firm a focal point of boycott movements. IW Magazine chronicles
similar protests and calls for ethical programming policies at other
Superstruct-run festivals, with petitions urging them to distance from KKR’s
controversial investments.
Superstruct Entertainment has stressed its independent
operational status, claiming decisions are guided by fan, artist, and staff
interests but faces mounting pressure from activist groups demanding divestment
and ethical accountability.
Government and Media Context of the Conflict Amplifying the Crisis
The Israeli-Palestinian conflict has dramatically escalated since October 2023, when Hamas’ infiltration into Israel resulted in over 1,200 deaths, including civilians, and triggered a fierce Israeli military response in Gaza. Estimates suggest more than 60,000 Palestinian deaths in just under two years, including many children, leading to worldwide condemnation and calls for humanitarian intervention. The Norwegian government, among others, faces criticism for indirect complicity through its sovereign wealth fund investments, which some activists equate to enabling war crimes.
The tension between Øya Festival’s management, its artist
lineup, and activist groups highlights the growing intersection of culture and
geopolitics. While the festival CEO maintains that boycotts will not alter the
situation in Israel, artists like Kneecap and Fontaines D.C. have used the
platform to condemn violence and call for solidarity with Palestine. This
standoff reflects broader challenges faced by global festivals navigating
ownership by investment firms with controversial political ties, amid ongoing
humanitarian crises and calls for ethical responsibility in the music industry.
The situation at Øya Festival may serve as a bellwether for
how cultural events confront corporate complicity in geopolitical conflicts in
the years ahead.