CHILL-out zones have long been part of festival culture – a place to rest, rehydrate or recover when the main stage becomes overwhelming.
But as more people openly identify as neurodivergent and awareness of sensory needs grows, these spaces are rapidly evolving. What were once informal rest areas are now being purpose-designed as low-sensory environments, helping more people safely and comfortably enjoy live music.
Across Australia, festivals are adopting similar approaches. Leading the way are Ability Fest and Groove Tunes, Melbourne-born events designed to showcase what accessible live music can look like. Both actively embed sensory-friendly environments into their festival planning, setting a new industry benchmark.
“We’re trying to show what accessibility can look like on a realistic budget,” said Dina Bassile, founder of Groove Tunes and accessibility consultancy Tibi Access.
“Many venues weren’t purpose-built for sensory spaces, so you have to be creative.”
When space or funding limits prevent a dedicated sensory room, Ms Bassile encourages events to offer sensory packs instead – including earplugs, fidget tools, sunglasses or communication cards.
“Even that small step sends a really important message,” she said. “It tells people their needs have been considered.”
Ability Fest, which expanded to Brisbane in 2024, has helped bring sensory-inclusive design into the mainstream festival landscape. Its custom sensory spaces have become prominent features.
“The biggest benefit is that more people get to experience Australian live music,” said Zack Alcott from Ability Fest and the Dylan Alcott Foundation.
“It reduces anxiety and stress, and opens the door for people who might otherwise stay home.”
Mr Alcott noted there is still work to do in educating staff and security that accessibility features aren’t just for visible disabilities.
“Someone wearing a sunflower lanyard has just as much right to access these spaces,” he said.
Newer festivals are also embracing the movement. Sydney’s Mode Festival and Melbourne’s Freeform have introduced sensory-friendly spaces that blend seamlessly into their visual identity rather than feeling clinical or separate.
At Mode Festival, a shed on Cockatoo Island was transformed into a multi-sensory retreat featuring grassed mounds, scented fog and quiet nooks for grounding and escape.
For Crown Ruler’s Annalisa Lucca, who is neurodivergent, the value is personal.
“I crave those spaces sometimes,” she said. “The key is comfort – making them inviting and intentional.”
Together, these approaches show that accessibility doesn’t come at the expense of creativity. When done well, sensory spaces enhance festivals – proving inclusive design can be expressive, immersive and welcoming.
