There is a particular quality of cognitive dissonance that arrives when you are standing in a field in Gloucestershire eating a lukewarm sausage roll and you look to your left and see a Lockheed Martin hospitality suite the size of a small hotel. It has happened to me at Fairford more than once. The aircraft are extraordinary, the crowd is genuine, the avgas smell on a hot July morning is exactly what it should be, and somewhere behind the static display line there is a structure with climate control and catering and men in lanyards having conversations that have nothing whatsoever to do with the Spitfire that just made everyone go quiet.
I did not think very hard about this for a long time. The corporate presence at RIAT felt like context, background noise, the price of putting that many aircraft in one place. You tune it out the way you tune out the commentary box when it states the obvious about an aircraft you have been watching for twenty years.
Then I read a detailed account of how American airshow season actually works, and I found I could not quite tune it back out again.
The US air show industry has a lobbying infrastructure that would be remarkable in almost any other context. The International Council of Air Shows, the trade body that represents American show organisers, runs an annual fly-in to Washington where organiser delegates meet with congressional staffers and make the case for continued military participation in civilian airshows. The argument, roughly, is that military displays are recruitment tools, that the cost of sending a demonstration team to three hundred events across the country is justified by the enlistment figures it supports. Whether that argument is empirically sound is a question I have not seen answered with any rigour in the public domain. What I do know is that it is an argument that has been made with considerable consistency for several decades and that the military participation has continued, which suggests that someone finds the case persuasive or useful or both.
The defense contractor dimension is where the story gets more interesting and, depending on your tolerance for this sort of thing, more uncomfortable. The major prime contractors, Lockheed Martin, Boeing, Raytheon and others, sponsor American airshows at a level that makes the RIAT hospitality village look restrained. They are not doing this because they enjoy watching the Thunderbirds. They are doing it because the audience at a major American airshow includes serving military personnel, procurement officials, congressional aides, and the occasional senator who has a defense plant in his district and a re-election calculation to perform. The airshow is a venue. It just happens to also contain aircraft.
What surprised me, genuinely, when I started following the lobbying story more carefully, was not the existence of this arrangement. I had assumed something like it existed. What surprised me was how formalised it has become, how openly it is discussed within the industry, and how rarely that discussion seems to reach the people standing on the other side of the rope barrier with a camera and a packed lunch. The public-facing narrative of the American airshow is about heritage, spectacle, patriotism, and the generosity of the military in making these machines available for everyone to see. The industry-facing narrative is about access, relationships, and contract cycles. Both are true simultaneously. One is spoken rather more loudly than the other.
I want to be careful not to be naive in the other direction. British airshows are not innocent of commercial logic. The organisers who do this for the love of it and nothing else are fewer than they were, and the ones who remain are working harder than they should have to. Sponsorship keeps events alive. I know this. I am not suggesting that taking a contractor’s money to put a name on a banner is equivalent to structuring a lobbying campaign around a legislative calendar. But I think the British airshow community does itself a disservice by treating the American model as simply a foreign curiosity rather than a direction of travel that has already begun arriving on this side of the Atlantic.
The moment that actually changed how I think about this happened not at a show but at a small airfield in Surrey, which is where things sometimes become clearest. I was talking to someone who had been involved in organising a mid-sized UK event that had run for several years before folding. He said, with more equanimity than I would have managed, that the event had ended not because people stopped coming but because the commercial relationships that had underpinned it had shifted, and that the people who had those relationships had moved them elsewhere. He described it with the language of someone explaining weather. No particular villain, no dramatic failure. Just the money going somewhere else, and the event going with it.
That is the version of the story you do not hear from the organisations that promote airshow culture on both sides of the Atlantic. Not because it is hidden exactly, but because it is structural rather than dramatic, and structural problems resist the kind of narrative that a press release can address.
The lobbying machine behind American air shows is not a conspiracy. It is a set of rational decisions made by organisations with interests, operating inside a system that rewards exactly the kind of sustained, formalised advocacy they have built. What it produces, over time, is an industry that is very good at arguing for its own continuation and less good at asking whether what continues to exist is serving the people who actually show up.
That question applies here too. It just hasn’t been asked as loudly yet.
Alex Bradley is a UK-based aviation writer and airshow circuit regular who has spent years attending displays from RIAT at Fairford and the Biggin Hill Festival of Flight to small fly-ins that drew two hundred people and a hot dog van, and values both for entirely different reasons.
He is not a pilot. He is not a PR man for the aviation industry. He is the person in the crowd who has been coming long enough to notice when something has quietly changed, when an organiser is papering over a problem, and when a display is genuinely worth the drive.
His writing on Redhill Airshow covers the British airshow circuit, safety, display team politics, CAA regulations, and the quiet contraction of grass airfield culture that nobody in the industry wants to discuss plainly.
He has stood at Redhill Aerodrome in every kind of English summer weather, watched Tiger Moths bank low over Surrey farmland, and carries strong opinions about what this country is slowly losing one cancelled event at a time.