In 2017, Yungblud met the world with a riotous show at The Water Rats, a dingy club in London’s Kings Cross area that also hosted Bob Dylan’s first live performance in the U.K. — as well as the first ever by Irish group The Pogues.

They went on to even bigger things and this weekend Yungblud will, too. On Aug. 11, the Doncaster-born artist will host the inaugural Bludfest, a 30,000 capacity, one-day event at Milton Keynes Bowl, England. Previous performers at the venue include Queen, Green Day, Metallica, Foo Fighters and Michael Jackson.

The 27-year-old – real name Dominic Harrison – will be joined by a diverse bill including his recent collaborator Lil Yachty, Soft Play (fka Slaves), Jazmin Bean, Lola Young and feature a slot by The Damned; the headline performance will mark his first full U.K. live show in over a year. Harrison released his most recent LP, Yungblud, in 2022, which charted at No. 1 in the U.K. and landed at No. 45 on the Billboard 200.

Across two stages and alongside fairground attractions, an art exhibition and a nod to the beloved Camden boozer The Hawley Arms, Bludfest is an all-encompassing proposition. “I’ve said from the start that it cannot be a gig wrapped in a festival, it needs to be a whole world,” he tells Billboard. “When I spoke with the team it became clear that it was important that part was nailed.”

Disillusioned with the state of the live music industry, Harrison has also been vocal about keeping ticket prices affordable for his young, passionate fanbase. He joins British artists like Paul Heaton and Tom Grennan in trying to buck industry trends for rising entry costs for fans amidst an uncertain and costly landscape for touring artists. An entry ticket for the event is capped at £49.50, though he has partnered with AEG to ensure a sound and slick production on the night.

A week out from the big night, Harrison tells Billboard about why the ticket market inspired Bludfest, advice from the Osbournes and his new label moves for album number four.

Why did now feel like the right time for Bludfest?

It’s something I’ve wanted to do for ages and this was the first opportunity in between tours and albums to do something on this scale. I wanted to build a physical space where the fans can all come together and realize how far this community has come. It needed to be a statement piece as a lot of critics don’t take me or the fans seriously, so I’m like “well, look what we can do.”

You’ve strived to keep ticket prices down to a reasonable amount at £49.50 ($63). Where did that desire come from?

I was in the U.S. last summer and it was the first time playing amphitheaters – our biggest venues in America yet – and it was the first time I experienced tiered seating and experiences. The floor and upper seats were totally full and there was this bullsh-t area in the middle, about 500 seats that were empty and I had no control over the price of them. There were kids outside of the venue who said they had to listen to the concert from outside because they couldn’t afford to come in. It hurt me when I heard that.

The global ticket market doesn’t understand people’s real lives. £250 for a ticket is making me sick. There’s a tour that just went on sale – which I won’t name – and I’m like “Are you f–king joking with me?” It makes me really angry.

There’s concern that young people in particular are being priced out of gigs by their favorite artists…

A lot of artists aren’t as in control of their career as you would think, or don’t pay as much attention to anything other than the art – which is fine and works for some artists, but that’s not me. The only explanation for where I am now, really, is my relationship to my fans. I wanted to make something feasible in a world where music has become a thing of privilege.

Looking at what The Cure’s Robert Smith did with Ticketmaster last year was so inspiring [Ticketmaster refunded what Smith called “unduly high” fees on tickets for the band’s U.S. arena tour in 2023.] That’s an artist at his stage of his career where they’re playing for original fans, but also for new, young fans and he’s still thinking about those people coming through. I don’t want my shows to only be full of people who can afford it.

How has the industry responded to you trying to do something different and less centered around profits?

I’m getting pushback from “the boardroom.” It’s so easy for artists to sit in the pub and say “f–k the label, promoters and corporate system” and do nothing about it. I got some heat from people because Bludfest is co-promoted by AEG but for me, the way to change the corporate system is not by betting angry but going and changing it from within. Most people on the ground floor at these labels or promoters just love music passionately as the fans do.

By taking something into my own control, I can get an insight into something I never would have come across and get an idea on costs and challenge them on why we’re charging a higher amount than what we need to. We’ve already got plans to take Bludfest to Paris or Prague; Japan, Australia and America all want it, it’s gone amazingly well. We have such a strong core fanbase in all of these places and we could really unite a bit of a scene around it.

You’re not the first to have the idea. Lollapalooza started as an outlet for Jane’s Addiction frontman Perry Farrell and your collaborator Ozzy Osbourne [star of the music video for Yungblud’s “The Funeral”] hosted Ozzfest for decades. Have you reached out for advice?

Sharon [Osbourne, Ozzy’s wife and longtime manager] has been so helpful to me. I said to her that I don’t feel like people don’t take me seriously, and she replied “we’ve felt that our whole f–king lives, that’s why we started Ozzfest.” She gave such positive feedback and advice to look after the people because they keep us here. They’ve been so amazing as a family to me.

You’ve got an eclectic mix of artists on the bill from U.S. rappers like Lil Yachty to punk legends The Damned. How did you decide who would be right for Bludfest?

I didn’t want it to be a genre-focused festival. I wanted to think about artists in their own lane and doing their own thing from across the whole scene, so I hit up Lola [Young] who I think is amazing, Jazmin [Bean] who is in their own world, The Damned for the icon slot. I asked about Placebo but they couldn’t make it so maybe we’ll get them next year. I was speaking to Robert Smith, The Smashing Pumpkins and just all my contacts for suggestions, and they all love the idea.

I wanted it to be young, emerging artists. I didn’t want to call up Tyler [Joseph] of Twenty One Pilots, or Oli [Sykes] from Bring Me The Horizon, I wanted it to feel like it is the first year and have a bit of bite and punkiness.

You’ve just moved labels to Island (U.K.) and Capitol (U.S.) for your upcoming record. How is work coming along?

My next album is a rock opera… it’s mental! It’s a new phase in my life and these labels are so classic, and this new album feels like it belongs on prestigious labels like that. The last few months have been a lot more creatively fruitful and inspiring. I really had a choice about staying in the comfort zone or do I want to go to different places and experiment.

In the past I was stuck on the treadmill – to the point that even some of my previous albums felt rushed – or taking external ideas that would damage the art because I was trying to satisfy someone else’s idea for what Yungblud is and not what’s in my gut. But now I feel more excited than ever.