From Trudeau at Coachella to a Wider Ageism Debate
A simple festival sighting turned into a global talking point: Justin Trudeau, in his early 50s, was spotted at Coachella, hanging out with Katy Perry and eating noodles on a log. Commentators rushed to declare him “too old” for the desert bash, reviving a familiar narrative that certain spaces and styles of fun somehow expire once you hit midlife. Yet letters and responses pushing back on this idea have been emphatic. One mid‑50s Glastonbury regular argues there is no rulebook that cancels your love of live music after a particular birthday, stressing that joy does not become less appropriate with age. Others note that festivals are where parents and teens can share experiences, not where older adults must quietly disappear. The Trudeau moment has simply made visible a kind of casual age‑policing that has long gone unchallenged in Coachella crowd culture.
How Music Festival Ageism Shows Up in the Crowd
Music festival ageism rarely appears as explicit discrimination; it hides in jokes, side‑eye and social media memes. Older festival goers are mocked for their outfits, filmed without consent, or described as “cringe” simply for dancing near younger fans. Fashion policing is particularly harsh: the same crochet top or bucket hat celebrated on a 22‑year‑old can be ridiculed on a 52‑year‑old. Online commentary often implies there is a fixed age limit for events like Coachella or Reading, even while artists such as Iggy Pop, well past youth, take the stage there. This double standard suggests that older people can entertain the crowd, but should not visibly be part of it. Such attitudes ignore how cultural norms are shifting, and how many adults in their 40s, 50s and beyond see festivals as a way to connect with music, friends and even their own children.
Festivals Are Already Multi-Generational Spaces
Despite the stereotypes, major festivals are quietly becoming multi‑generational concerts. One 57‑year‑old reader described going to Reading with his wife and 16‑year‑old daughter: the parents danced in the EDM tent and sang at silent karaoke while also offering their teen a safe base at night. Far from resenting them, many teenagers came over to say it was “great to see older people enjoying the experience.” Another parent in their 50s wrote about regularly attending live music and planning a Primavera trip with their son, stressing that the goosebumps, tears and sense of discovery never disappear. Meanwhile, dance acts like Sick Individuals, whose progressive house tracks are built for Tomorrowland and Ultra’s biggest stages, draw crowds that range from first‑time ravers to fans who have been following house music since the days of Daft Punk and Swedish House Mafia. Festivals have never truly been Gen Z‑only zones.
The Lifelong Value of Live Music – and How to Make It Inclusive
Research cited by festival‑going letter writers points to clear benefits when adults over 40 stay actively engaged with music, from reduced depression to better psychosocial health. Another study focused on electronic dance music events found that over 90% of older attendees reported a positive impact on their wellbeing, often describing festivals as spiritual resets and vital social connectors. For older festival goers, practical strategies matter: prioritise comfortable footwear, sun protection, regular hydration and planned breaks; know where medical and quiet zones are; and don’t be afraid to choose seating or less crowded stages over the main crush. Younger fans can help build truly inclusive music festivals by not filming strangers for ridicule, offering space in crowded areas, and welcoming parents and older friends into the shared ritual of dancing and singing along. Joy is not a limited resource; it grows when more people are allowed in.
A Malaysian Lens: Why Older Fans Travel for Festivals
For Malaysian music lovers, the Trudeau‑Coachella debate resonates in a specific way. Many fans in their 30s, 40s and 50s now save up leave days to fly to global festivals like Tomorrowland, Creamfields or Mysteryland, catching acts such as Sick Individuals on stages they once only saw on YouTube. This reflects changing local attitudes: leisure is no longer seen as the exclusive domain of youth, and long‑time fans of punk, rock or EDM are increasingly willing to travel for bucket‑list shows. Multi‑generational trips are also becoming common, with parents combining family holidays and festival stops in Europe or Japan. The message is simple: age should expand your options, not reduce them. As Malaysian audiences embrace this mindset abroad, it will likely filter back into local gigs and boutique festivals at home, encouraging organisers to think beyond youth marketing and design spaces where every age group feels they belong.