ASK any arts lover “who makes the Fringe?” and most will agree it is the artists. It is they – and the often small, independent producers who support them – who take the financial risks to come to Edinburgh for three-and-a-half weeks in August to make the event the huge, colourful, chaotic celebration of artistic creativity that it is.
Not a single Fringe-goer, I am happy to wager, will say “landlords”. No-one thinks that the short-term-lets profiteers, whose little secure key boxes dot the entrances to vastly overpriced properties throughout Scotland’s capital, are the lifeblood of the world’s biggest arts festival.
