‘Entirely my decision’: Adelaide Festival CEO confirms exit
In what has been several months of top-tier turnover, Adelaide Festival chief executive Kath Mainland has called it quits after three years as the festival reports a remarkable budget recovery.
The Adelaide Festival has undergone more change at its leadership level with news that its chief executive officer Kath Mainland will leave the organisation after three years.
The loss of its CEO is the latest in a string of top-tier changes at the arts organisation following the departure of artistic director Ruth Mackenzie who quit unexpectedly last August, and the announcement by the festival board in 2023 that long-time board member and chair Judy Potter would be replaced by new chair Tracey Whiting AM.
Mainland took on the CEO role in April 2022 and at the time of her appointment then-Adelaide Festival chair Judy Potter said: “We are incredibly fortunate to have Kath join Adelaide Festival, bringing with her experience from some of the world’s pre-eminent arts companies”, describing her as an “exceptional talent…” with “clear and decisive leadership”.
The news of Mainland’s departure was announced to staff before the opening of this year’s festival, with Mainland telling colleagues in an email that, “After three wonderful years at Adelaide Festival, I have decided that it is time for me to move on and pursue new challenges.”
“As we conclude the search for a new Artistic Director, I feel this is a natural moment to step aside and allow fresh leadership to build on the Festival’s continued success,” she wrote.
“Change often brings exciting opportunities and I’m excited to see what the future holds both for the festival and myself and remain fully committed to delivering the 2025 program before departing in April.”
Before being appointed Adelaide Festival CEO in 2022, Mainland, who hails from Scotland, had been an arts leader in Melbourne where she held other high-profile arts roles including the executive director and co-CEO of the RISING cultural festival and CEO of the Melbourne International Arts Festival. She was also previously chief executive of Edinburgh Festival Fringe and administrative director of the Edinburgh International Book Festival.
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In a statement provided to InReview, Mainland, whose contract is up in April, said her departure had been “entirely my decision”.
“I have dedicated much of my professional career to festivals, which require immense commitment. With the recruitment of a new Artistic Director for AF26 (now successfully appointed), this began to feel more and more like a natural moment to step aside. I’ve put a lot of energy into ensuring this year’s festival was set up for success, and I’m pleased to be leaving the Festival in a strong position. This transition allows me to explore new professional opportunities while ensuring the Festival continues to thrive under fresh leadership,” the statement said.
Mainland’s departure signals yet more senior leadership change at the arts organisation following the abrupt exit of artistic director Ruth Mackenzie who left last August midway through her tenure.
Mackenzie – whose previous roles include director of the London 2012 Festival (during the 2012 Olympics) and artistic director of the Holland Festival – oversaw the 2023 Adelaide Festival (curated by former artistic directors Rachel Healy and Neil Armfield) and programmed last year’s event.
She had also been expected to program the 2025 and 2026 festivals but in a surprise move, took up a role within the Department of the Premier and Cabinet (DPC) as program director, arts, culture and creative industries policy.
This triggered a chain of events that saw former-Adelaide Festival artistic director Brett Sheehy (2005-2008) move from his home base in the NSW Blue Mountains to take on a caretaker role at the helm of the organisation. Sheehy was tasked with delivering this year’s Adelaide Festival, as well as beginning preparations for next year and beyond, as the organisation searched for a permanent replacement.
After reports of budget overruns in 2024, the festival today announced an expected “six figure surplus” ahead of its final weekend.
“After making a perhaps rash declaration to my Board and my team that a deficit this year was simply not an option, I am thrilled to call it now – the 2025 Festival will finish with a very healthy six figure surplus,” Sheehy said in a statement.
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The festival has also reported 353,556 attendances so far, including WOMADelaide and Adelaide Writers’ Week, which this year drew 160,000 attendances across its free program and ticketed events. In 2024 the festival reported a ‘record-breaking’ 555,505 attendances.
Sheehy said this year’s festival attracted more sales for ticketed events and there were fewer free public activations that were a hallmark of the 2024 program and its high attendance figures.
He said sponsorships and philanthropy also contributed to the budget turnaround.
Matthew Lutton OAM was announced earlier this month as the new artistic director, taking on the role from 2026-2028. Lutton has spent the previous nine years as artistic director and co-CEO of the Malthouse Theatre in Melbourne.
Asked if this top-level change has been unsettling for Adelaide Festival staff, Mainland’s statement said: “Leadership transitions are always significant, but my priority is on ensuring a smooth handover and stability for both the Festival and our team. The Adelaide Festival has an exceptionally talented and dedicated staff, and I have every confidence in their ability to navigate this transition successfully.”
Mainland said she had not decided on what she will do next.
“I have no plans other than to take a well-earned break after 34 continuous years in festivals and events,” she said.
“I’d love to stay in SA, but will likely be driven by the next opportunity.”
Minister for Arts Andrea Michaels praised Mainland’s stewardship in a statement provided to InReview.
“Kath has done an incredible job as chief executive of Adelaide Festival over the past three years,” Michaels said.
“She came into the role at a very challenging time with the pandemic impacting festivals right around the world and she has done an extraordinary job steering South Australia’s premier festival through.
“I’m looking forward to seeing what she does next, I have no doubt she’ll continue to make her mark on festivals globally.”
Read more 2025 Adelaide Festival coverage here on InReview