In a stunning turn of events, Serbia’s famed EXIT Festival finds itself at a crossroads, caught in the crosshairs of political pressure and forced to launch a global crowdfunding campaign to survive. The 25th edition, celebrated in July 2025 at the iconic Petrovaradin Fortress, was not only a milestone anniversary but also, as organizers now admit, the last in Serbia for the foreseeable future. The festival’s fate is emblematic of a larger struggle between youthful idealism and entrenched political power—a struggle playing out not just in Serbia, but in societies around the world.
On August 8, 2025, EXIT Festival officially announced the “Save EXIT Freedom” campaign, a global crowdfunding effort designed to plug a gaping €1.5 million hole left by the sudden withdrawal of public co-funding and government-linked sponsorships. According to the festival’s official statement, this financial blow came directly on the heels of EXIT’s public support for mass student protests sweeping Serbia. Organizers say the festival has been subjected to “intense government pressure” and “political and security threats” intended to silence its voice and jeopardize its future. The goal now is to secure the immediate stability of festival operations and protect more than 100 permanent jobs.
“This is a moment for the music industry to unite, protect one of its own, and demonstrate that collectively it is stronger than any government in the world,” EXIT founder Dušan Kovačević said, as quoted by the festival’s official channels. For Kovačević and his team, defending the festival’s independence means safeguarding freedom for artists and music organizations everywhere.
The story of EXIT is, in many ways, the story of modern Serbia. Born in 2000 during student protests against the Communist regime of Slobodan Milosevic, the festival quickly became a symbol of resistance, unity, and hope. Over the years, EXIT has grown into one of the world’s most respected music festivals, twice winning the European Festival Awards’ Best Major Festival and earning the Take a Stand Award for advocacy in human rights and social justice. Its mission, organizers say, has always been to stand for freedom, unity, and cultural independence—a mission now being put to the ultimate test.
Pollstar News, which has followed the festival’s journey closely, described the struggle to stage the 25th anniversary edition as “an understatement.” The festival found itself ensnared in a wider social phenomenon: young generations, realizing that old structures are failing them, are taking an idealistic stand to inspire positive change. EXIT became a flashpoint in this generational clash, almost causing its 25th anniversary to collapse entirely. Yet, as Pollstar put it, “the power of music, and the inherent need for people to gather for a reason, prevailed.”
But the celebration was bittersweet. As Kovačević told Pollstar in an interview, “It feels like divine providence, like a full circle has been completed after a quarter of a century. I always joke that the universe, God, whatever you want to call it, is the best director of drama. Nobody else could have thought of another scenario for the 25th anniversary that could have given it as much meaning as what unfolded this year.”
Despite the triumph, the reality is stark: “Because of the government’s retaliation and pressure, we need to take a pause from Serbia until freedom returns—which we all feel will be sooner rather than later.” The 2025 edition, then, was not just a celebration but a farewell—at least for now. EXIT will “definitely pause next year,” Kovačević confirmed, as the organization shifts focus to global expansion. The brand “EXIT in Exile” is set to launch by the end of summer 2025, with plans for three to five new events around the world. Each will have its own distinctive flavor, tailored to its host destination, and developed in partnership with local communities.
EXIT’s independence has been both its greatest strength and, in moments like these, its most daunting challenge. The festival’s founder emphasized to Pollstar that being independent “gives you the freedom to develop the brand in the way you feel is right both for society and for the organization.” He added, “If you’re not independent, you won’t be allowed to do that. You would have to obey short term profit logic and avoid big risks.”
The risks this year were enormous. The government reportedly ordered organizers to ban all messages in support of the student protests from the festival site as a condition for receiving a permit. EXIT refused to comply, even though it meant operating without a license just two days before the festival gates opened. For Kovačević, the decision was clear: “The business is but one element of the story. Music can be seen from a spiritual, artistic, cultural, and business aspect. They are all important. Focusing on just one denies the others.”
This holistic view of music’s role in society is not just philosophical—it’s practical. “I truly believe in the power of music, and the power of festivals to ignite positive social change, but also, on an individual level, to support the mental health of people, even the raising of consciousness. Art has had that function for thousands of years,” Kovačević told Pollstar. He drew parallels to the origins of modern festivals like Woodstock, emphasizing that “people gathered for a reason, and they still want to do this.”
The 2025 edition’s stand in support of student protests—young people aged 18 to 23, fighting for ideals without outside funding—resonated deeply. “What happened in Serbia got the whole society united, or, let’s say, the more conscious part of society united in support for the students. There was something divine in it,” Kovačević reflected. He predicted that similar youth-driven movements will likely emerge elsewhere as young generations become increasingly aware of global crises, from wars to environmental destruction.
EXIT’s bold stance has not gone unnoticed in the music world. The festival has previously won the Take A Stand Award, handed out by the European festival association Yourope during the European Festival Awards. Kovačević now hopes to engage with Yourope to find ways the association can better support member festivals facing political threats. “If what EXIT did takes the meaning of this award to the next level, then why not?” he said. “Let this award be about the extent of the bravery a festival displays.”
Looking forward, EXIT’s founder called on the global music industry to rally in solidarity: “There are so many ways in which the music industry can support EXIT; so many ways for us to go through this victoriously, and I’m sure, that through the great connections we have with artists and agencies, we will feel this support and the solidarity within the music industry.” He even mused that the saga would make for “an amazing Netflix documentary: a big, major festival gets in trouble by an unfair, and undemocratic authoritarian government, but the entire music industry, players from all over the world, different people, different stakeholders, step in, and basically save one of their own.”
As EXIT looks to the future—whether in Serbia, Croatia, Montenegro, or new destinations yet to be announced—the festival’s story serves as both a warning and an inspiration. The power of music to unite, heal, and spark social change remains undiminished, even in the face of daunting odds.
