“Standing on the shoulders of giants”: Joel Ulbricht to lead Tamworth festival

Taking on the role of festival manager at the Tamworth Country Music Festival is a “bucket list opportunity” for Joel Ulbricht, who is focused on building on the event’s 54-year legacy.

Mr Ulbricht steps into the role following the retirement of long-time festival manager Barry Harley and said his approach was shaped by the history of the festival and the people who built it.

“I see myself as standing on the shoulders of giants,” Mr Ulbricht said.

“This festival has been built over 54 years and I’m not coming in to say we’re going to be bigger and better or to reinvent the wheel.”

He said spending two weeks shadowing Mr Harley in the lead-up to the 2026 festival reinforced the scale of that legacy.

“There was nothing but honour and respect for him,” he said.

“I didn’t hear a single negative comment. I heard ‘big boots to fill’ so many times, and that tells you everything about what’s been created here.”

Mr Ulbricht brings more than 20 years’ experience as an event leader and festival director, having worked on more than 80 major events across Australia, New Zealand, and Asia. His career has included large-scale multi-day festivals, major regional events, culturally significant gatherings, and complex operations in remote locations.

More recently, he has been involved in the delivery of events including the Parkes Elvis Festival, the Katherine Show and Rodeo, and the Garma Festival in Nhulunbuy.

He also spent close to two years living and working in Haasts Bluff, Northern Territory, supporting initiatives of the Walk A While Foundation, focusing on community development, tourism, training, and employment with local Indigenous staff.

Even with all his experience, Mr Ulbricht said Tamworth was different to every other festival.

“This is the first festival I’ve taken on where I had the opportunity to meet key stakeholders before stepping fully into the role,” he said.

“Meeting local business owners, club owners, pub groups, artists, and staff, and just observing how this festival operates, that was invaluable.”

He said he was currently “doing a bit of a PhD in country music” to better understand the landscape and the people who make up the Australian country music community.

“I’m coming in with open eyes,” he said.

“I might have managed around 85 major events over the last two decades, but I don’t believe I’ve got any magic formula. I’m here to learn from people as much as they’re going to learn from me.”

That meant Mr Ulbricht would move slowly and advocate for Australian country music.

“It takes one year to really understand how an event works,” he said.

“In the second year, you can start to introduce small tweaks and changes. We’re not trying to revolutionise things. Absolutely, number one, advocating for Australian country music.”

Mr Ulbricht said John Williamson told him clearly on the night of Golden Guitar Awards that he must keep it Australian.

“If I hadn’t gone to the festival and really understood the ethos and the legacy of what we’re trying to establish in the Australian country music sector, I can see how easy it is for people to say, ‘Let’s bring internationals in’,” he said.

“But preserving what’s been built before us and continuing that mandate is critical.”

Instead of major changes, Mr Ulbricht said he wanted to look at “income streams, partnerships, and efficiencies” to ensure the festival remained viable, as well as using existing infrastructure to work with the community.

“We’re not trying to change things and reinvent the wheel,” he said.

“It’s about sharpening up certain areas, maybe reimagining how we use existing spaces, and working with the local community to understand what’s working and what can be improved.”

Mr Ulbricht said the festival must also have a balance between free programming and supporting venues and the ticketed shows they are offering.

“There is something for everyone,” he said.

“People who want ticketed shows can do that, and families who want to bring a picnic and enjoy free music in the park should still be able to do that. It’s about balance.”

He said his role was a long-term commitment to the event.

“I’ve never contributed to this event before now,” he said.

“I see myself, like Barry, as just looking after it until the next festival manager comes along, maybe in 10 or 20 years. For me, it’s about learning, understanding, and making sure that when the time comes, this is an event we can proudly hand to the next generation, having played our small part in its history.”