Stand Out Magazine February 2022

February 2022

POWER

IN IT TOGETHER

HARRY POTTER

CIRQUE DU SOLEIL

MDLBEAST

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EDITOR’S LETTER

I

FEBRUARY 2022

n January, I had the great pleasure of attending the Festival Supplier Awards. It was fantastic to catch up with so many events professionals. It’s always a good night, but instead of dancing and drinking, there was a different vibe at this year’s shindig; people just wanted to chat.

More than any other awards dinner, it was clear that those in the room had a different agenda; yes, they wanted to celebrate the good work delivered in a tough year, but there was a need to talk. Everyone wanted reassurance that they were not the only ones in a battered boat – was everyone else facing the same brewing storm of recruitment challenges and supply chain issues?

If you read the latest industry surveys, outlining the challenges for the year ahead, they are a depressing statistical snapshot. However, they don’t iterate the determination of an industry that is err, determined, to get through 2022.

Let me be clear. I am under no illusion that this coming season won’t have significant challenges, but I also believe that we’ll survive. I think this year will be about survival of the agile and the ability to adapt.

What’s apparent from the many conversations I have had is that there is positivity. I don’t believe that this is reflected within the latest statistics. The figures only draw half the picture.

Anecdotal evidence suggests that there is an overwhelming appetite to get back out there.

To give consumers confidence and show them what they have missed. Because if we don’t do it this year, then those events and festivals which have not gone ahead for two years will not come back and we’ll be a poorer industry for it.

From chatting to #eventprofs, there are certain dates within the calendar where it’s going to be hard, but have you ever learned an important lesson from an easy ride? This month, I have had the pleasure of talking to many structure companies that have grown during the pandemic. That downtime, which we all hated at the beginning, allowed many organisations to turn their attention to the things that would never have got done if we carried on as normal. To quote Craig Mathie, MD of Bournemouth 7s, at a recent South Coast Events Forum meeting, sometimes we need to tackle what’s important and not just the urgent.

Happy reading, Caroline @StandOutmag Editor’s image: © Aniseed Photo Cover image: ©MDLBEAST/Getty Images/Tim Whitby

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CONTENTS

RAIN SUPREME 12

R-E-S-P-E-C-T 26

MESMERISING MUGGLES 15

WELSH WONDER 48

10 EVENT TENDERS

34 LEADING THE CHARGE

12 RAIN SUPREME

44 TIME TO CHANGE TACTIC

Discover the latest event tenders and contract wins Cirque du Soleil’s use of water wowed audiences at the Royal Albert Hall

15 MESMERISING MUGGLES

Unify Productions’ Anthony Norris reveals all about Harry Potter: A Forbidden Forest Experience

21 PRICE RISES

The Government’s ban on red diesel comes into effect in April, meaning power costs will increase. Power experts chat

26 R-E-S-P-E-C-T

MDLBEAST’s Soundstorm featured a ground-breaking new antiharassment campaign called Respect and Reset (R&R). Here, Judy Bec, head of ops at Boomtown Fair, reveals all about the project that she delivered

Stand Out chats to Tim Collett, WRG’s new MD The events industry has changed in the last two years, but are you still using the same event marketing techniques? Mustard Media’s Ed Norris asks the question

48 WELSH WONDER

In It Together is a new festival set to open in Wales this June. Mark Hopkins, festival director, reveals all

50 CHECK YOUR POLICY

Is your lost child policy fit for purpose? Nipperbout’s Janthea Brigden thinks not…

53 PROFILE

Jake Warriner, SC Productions’ newly promoted company director and production manager, talks of his passion for events

www.standoutmagazine.co.uk n 05

CONTRIBUTORS

This month’s

CONTRIBUTORS:

ED NORRIS

JANTHEA BRIGDEN

JIM DAVEY

Editor Caroline Clift caroline@standoutmagazine.co.uk

Credit control Janine Walmsley creditcontrol@standoutmagazine.co.uk T: 01795 509103

Stand Out Multimedia Limited, Cobalt Building, 1600 Eureka Park, Lower Pemberton, Ashford, Kent TN25 4BF www.standoutmagazine.co.uk

Publisher Neil Fagg neil@standoutmagazine.co.uk T: 01795 509101

No part of this magazine may be reproduced or stored in a retrieval system or transmitted in any form – electronic, mechanical or physical – without express prior permission and written consent of the publisher. Contributions are invited and when not accepted will be returned only if accompanied by a fully stamped and addressed envelope. Manuscripts should be typewritten. No responsibility can be taken for drawings, photographs or literary contributions during transmission or in the editor’s hands. In the absence of an agreement the copyright of all contributions, literary, photographic or artistic, belongs to Stand Out Multimedia Limited. The Publisher accepts no responsibility in respect of advertisements appearing in the magazine and the opinions expressed in editorial material or otherwise do not necessarily represent the views of the Publisher. The Publisher cannot accept liability for any loss arising from the late appearance or non publication of any advertisement. Information about products and services featured within the editorial content does not imply an endorsement by Stand Out magazine. © 2022. Stand Out Multimedia Limited, Cobalt Building, 1600 Eureka Park, Lower Pemberton, Ashford, Kent, TN25 4BF.

Ed is co-founder and commercial director of Mustard Media, a festival and events marketing agency based in Manchester.

Ed is also co-founder of AMP Lost and Found Festival in Malta and Business Keeps on Dancing. He has more than 15 years’ experience in the festival and events industry. Mustard Media was created in 2013 after many brands reached out to Ed and his business partners to help market their festivals. The company has built a reputation for being the “go-to agency” for selling tickets, working with festivals, events, and destinations across the globe, including elrow, Parklife, Afro Nation, Camp Bestival, and Manchester Pride. In this issue, Ed talks of the growing trend for outsourced event marketing and why he thinks it’s time to rethink your marketing moves.

Publication manager Sarah Bourne sarah@standoutmagazine.co.uk T: 01795 509113 Account manager Jo Stace jo@standoutmagazine.co.uk Design and production Jack Witcomb studio@standoutmagazine.co.uk Digital and web developer Matthew Coppard

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Janthea is chief executive officer and founder of Nipperbout, an award-winning event childcare company. Janthea has more spent more than 29 years in the events industry providing childcare at major UK and European events, festivals, and venues. Her experiences have enabled her to deflect unexpected curve balls, problem solve and spot risks, so that she can help clients to create safe, enjoyable, anxiety-free environments for children and families. With vast experience in policy writing, safeguarding and lost child best practice, Janthea shares her years of knowledge and asks whether your lost child policy is fit for purpose.

Managing director John Denning Subscribe:

Jim Davey, managing director at Redwood Event Solutions, has more than 18 years’ experience in safety, production, and operations management, working on some of the largest, most challenging, uplifting, and special events in the world. Redwood’s client portfolio includes IMG, Brand Events, Vision Nine, Bristol Light Festival and Upfest. In this latest edition, Jim reveals his predictions for 2022 and what he thinks will be the big challenges for the events industry.

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INDUSTRY UPDATES

AIF chief warns of “perfect storm” heading for UK festival industry A live entertainment supply chain crisis, workforce shortages, and the effects of Brexit could create a “perfect storm” as the 2022 festival season approaches.

That was the warning from the Association of Independent Festivals CEO Paul Reed, during his opening remarks to independent festival promoters at the association’s 2022 Festival Congress event.

Reed said that while there is widespread optimism about the return of a full festival season this year, it will not be a simple case of getting back to business with serious challenges still ahead for the live industry.

He warned that suppliers simply do not have cash reserves to invest further funds

into inventory, in a year when there will be near unprecedented demand and event activity both across the commercial market and from Government-backed events such as Unboxed and the Jubilee celebrations.

Reed called for ongoing support from Government to alleviate pressures in the form of continued VAT relief on festival tickets to maintain the current reduced 12.5 per cent rate on tickets beyond the end of March; and to also look at some form of Government-backed loan scheme for suppliers to alleviate some of these pressures and encourage investment in the festival supply chain.

NEWS IN BRIEF As reported on LinkedIn, Circular Unity is close to launching ImpactALL, a carbon management and ESG (Environmental, Social, and Governance) tool for the events industry.

The Purple Guide has updated its chapter and guidance on working in Safety Advisory Groups.

For anyone interested in event and festival sustainability head on over to Facebook where you will find a fantastic, closed group called Felves Green Gnomes. It’s full of people that want to chat about event initiatives that save waste, energy, time, and money.

Are you looking for a new role in the events industry? Check out the Event Jobs section on the Stand Out website.

It’s full of new job opportunities and if you have vacancies to fill, it won’t cost you a penny to post your job online.

© Getty Images/Mahmoud Khaled/Expo 2020 Dubai

Have you ever considered how sustainable fireworks displays really are? Jon Culverhouse, founder of Fantastic Fireworks, has written a great blog post on that very topic. You’ll find it on LinkedIn if you jump online.

Coldplay rock Expo 2020 to drive home green message Coldplay performed at Expo 2020 Dubai on February 15, in support of the Expo’s Programme for People and Planet and in alignment with the UN Sustainable Development Goals. In March 2022, Coldplay will embark on its Music of the Spheres World Tour, which incorporates initiatives that aim to lower carbon emissions by as much as 50 per cent compared to the band’s previous tours. The Al Wasl performance, part of Expo 2020’s Infinite

Nights Series, highlighted the shared goals of Coldplay and the UAE, inspiring climate awareness. As the first country in the region to announce a Net Zero by 2050 Strategic Initiative, the UAE has achieved global recognition for its commitment to a low carbon world and views climate action as an opportunity for sustainable economic growth – an approach that will gain global momentum as the country prepares to host COP28 in Abu Dhabi in 2023.

Theatre Green Book, industry-wide guidance to improve sustainability in live theatre, has been launched.

Need a laugh? Rob Mayhew is making quite a name for himself on TikTok and LinkedIn with his observational sketches based on agency life. Check them out.

Best Tweet this month goes to @NOEA President “It’s about time that event organisers wake up and realise they must increase rates paid to security, litter pickers and other manned suppliers or there will be no staff. They will be working for better pay in Tesco.”

Festival organisers lead the way in waste and emission reduction A Greener Festival (AGF) has revealed the results of its industry-leading green event certification for 2021, which highlights festivals and events striving to reduce waste and emissions. The awards, which commend organisers that have achieved high standards in sustainability and reduced their environmental impact, make it necessary for events to apply for an assessment and provide evidence such as fuel or electricity and water usage, waste transfer notes, transport measurements, procurement policies and traceability,

and survey data. To be awarded AGF certification, applicants need to address set requirements, and based on their performance against these, can be graded Improvers, Commended, Highly Commended and Outstanding.

The awards will be presented during the Green Events and Innovations Conference on April 29, but festivals and events making the grade include Paradise City (Outstanding), elrow Town (Highly Commended), Festival de la Luz (Commended) and Lost Village (Improvers).

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EVENT TENDERS AND CONTRACT WINS REDBULL RACING

Time to pitch Looking for new business opportunities?

Check out the latest event tenders and contract wins RBG Kew Enterprises is looking for an organisation to produce a new event - Kew Summer Festival - which will incorporate its current music concert series, Kew the Music. The deadline is 12pm on March 16. Email procurement@kew.org

Torbay Council, working with the English Riviera Bid Company, would like to stage the English Riviera Food Festival. The deadline is 12pm on March 22. Interested? Email joanna.pascoe@torbay.gov.uk

SweetSpot, organiser of the Tour of Britain and Women’s Tour, has appointed OnePlan as official event planning supplier for its 2022 races.

The University of East London has issued a £250,000 tender for event management services, as it wishes to organise large events and graduation ceremonies in three different locations.

The deadline is 2pm on March 18. Email Adrienn Czigany – a.czigany@uel.ac.uk

Bedford Borough Council is looking to produce an aerial laser and/or light display to enhance the illuminated boat parade at the 2022 Bedford River Festival. The deadline is 12pm on March 11. Email sonia.shaikh@bedford.gov.uk PPDS has been chosen by RedBull Racing as an official team supplier of professional displays, digital signage, and monitors.

Swansea Council would like to purchase a mobile trailer stage for large-scale events. The deadline is 12pm on March 4.

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CIRQUE DU SOLEIL

Monsoon moments

Cirque du Soleil’s use of water wowed audiences at the Royal Albert Hall.

Read on and discover how

C

irque du Soleil returned to the Royal Albert Hall in January, and wowed audiences with its own brand of colourful performance and nail-biting acrobatics.

Luzia, the entertainment giant’s touring production that celebrates the sounds, faces and places of Mexico, runs until February 27, and comprises 46 performers, each demonstrating undeniable levels of balance and skill.

The 110-strong touring cast and crew – which features 19 technicians and a wizarding wardrobe department – returned to London to mark the 25th anniversary since Cirque du Soleil first performed at the iconic venue.

Luzia incorporates rain into many of the acrobatic performances and a giant water curtain is just one of the three central elements featured in the set design. A huge moving disc, measuring 6.9 metres in diameter and weighing 2,000kg, rotates horizontally and a perforated paper, lantern-like curtain, which is 30-metres wide and 11-metres high, is key to the show’s narrative.

But what fascinates audiences more is Luzia’s imaginative incorporation of water and a stage floor with 94,657 holes through which water drains into a 3,500-litre basin hidden underneath. The water in the basin is channelled to an external 2,500-litre tank where it is treated and pumped up to a bridge 17 metres above the stage.

Here, the water is maintained at a constant 28C (82F) for the wellbeing and comfort of the artists.

© Matt Beard

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CIRQUE DU SOLEIL

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HARRY POTTER: A FORBIDDEN FOREST EXPERIENCE

Mesmerising Muggles Unify Productions’ Anthony Norris reveals all about Harry Potter: A Forbidden Forest Experience

Bros. Themed Entertainment, in W arner partnership with Unify Productions,

Thinkwell, and Fever, welcomed more than 200,000 Harry Potter fans to an immersive light trail featuring creatures from the Harry Potter and Fantastic Beasts series.

Harry Potter: A Forbidden Forest Experience closed its gates on January 16, following a three-month run at Arley Hall, Cheshire. As evening fell, Potterheads walked a 1.7-kilometre light trail, which meandered through ancient woodland; a mythical home to Hippogriffs, centaurs, unicorns, and Nifflers.

The outdoor experience was created

by Warner Bros. Themed Entertainment in partnership with theatrical designer and experiential creator, Thinkwell, production partner Unify and entertainment discovery platform Fever.

Harry Potter: A Forbidden Forest Experience offered fans a new way to enjoy some of the most iconic and magical wizarding world moments in a COVID-safe environment, as guests followed a oneway route through the Arley Hall Estate.

FOOT IN THE DOOR

Anthony Norris, co-founder of Unify Productions, is no stranger to working on large-scale, intricate, and imaginative events with big logistical challenges. So, producing Harry Potter: A Forbidden Forest Experience did not faze him. He knew it would take a lot of hard work, but it was necessary. “It’s the best thing I have ever done,” Norris explained, just days after completing a twoweek load out. “It’s amazing what you can achieve in 367 days.”

www.standoutmagazine.co.uk n 15

HARRY POTTER: A FORBIDDEN FOREST EXPERIENCE

The experiential trail opened on October 16 – 367 days after the first conversation about the event took place.

Norris continued: “As we came out of lockdown in 2020, I began reaching out to people and started chatting to Heather [McGill] who I had worked with on London 2012. I had also been chatting with the team at Raymond Gubbay about their Christmas light trails and was inspired. At the time, everyone was used to going out and being in nature.

Heather and I began talking about what we could do in this space and what IPs were available.”

Harry Potter sprang to mind. During London 2012, Norris and McGill had worked with Thinkwell, which has unrivalled experience with the Harry Potter brand. “Heather had kept in touch with some of the team at Thinkwell,” Norris continued. “It gave us a foot in the door. Within 48 hours, we had a provisional ‘yes’ from Warner Brothers but we had to go back to them with a formed creative.”

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PLANNING AND LOCATION

Unify was co-founded by Norris and McGill and what ensued was an intense period of planning and a big fat “yes” to the project. Unify collaborated with Thinkwell, which led on creative, and Fever, which took responsibility for marketing and PR. Unify was engaged as event producer, with McGill working on creative and Norris leading on “nuts and bolts” operations.

“We wanted to make sure we were working in harmony with the forest,” Norris added. “We didn’t want to bring in a ton of props. The forest was our backdrop. There were several big ticket items that we knew we wanted. We knew we wanted Hagrid, we knew we wanted a Hippogriff, and we knew we wanted Aragog. But we also knew that we wanted to use the forest and use the branches, for example, to hide lighting.”

Arley Hall’s gnarly wood was the perfect location for the experience. Up to eight other locations were looked at within the Manchester/Liverpool/Birmingham

triangle. “We are blessed with many country estates,” said Norris. “But we needed to be able to close the doors and have the run of the forest, without having daily visitors peeping through and seeing what we were doing.”

ATTENTION TO DETAIL

Harry Potter: A Forbidden Forest Experience took guests on a journey; it was not “installation based”. All elements were programmed around nautical twilight with staggered start times and as the evenings got darker, and British Summer Time ended, the experience started earlier, meaning that more people could experience the trail. When the event opened at 4pm, 3,000 people could pass through the trail, which comprised eight key themed experiences, as well as a themed food and beverage village inspired by Diagon Alley. This was created alongside Freemans Event Partners.

During its run, guests consumed 58,000 Hogwarts Hot Chocolates, 20,000 themed donuts, and 45,000 bottles of Butterbeer.

HARRY POTTER: A FORBIDDEN FOREST EXPERIENCE

According to Jason Mumby, director of client development at Freemans Event Partners, the food and drink at Harry Potter: A Forbidden Forest Experience was a great example of how an event’s food and beverage offer can be knitted into the content of an event. Furthermore, the food units were “unrecognisable” as they were themed to look like Diagon Alley from the Harry Potter movies. Warner Brothers was “very specific” about what it wanted in terms of food and drink; the direction was clear and attention to detail was paramount.

LESSONS LEARNED

John King worked alongside Norris and took responsibility for health and safety.

Adam Povey was engaged as lighting designer and Mark “Bluey” Hardwidge sat across technical production and site management. It was a big project and whilst not a festival site with 60,000 people on it, the site was demanding – a fact that Norris admitted to underestimating.

Now, as thoughts turn to 2022, Norris and McGill are digesting the lessons learned.

“We learned a lot about the land we’re working on,” he explained. “It’s not agreed that we will return to Arley Hall, but we’re keen to go back. I know that if we did, I want to change the design of the food and drink village, as the grass didn’t look great at the end of November. We also learned a lot about COVID and discovered that the levels of approval that you need to go through to get things signed off are intense.”

LOOKING AHEAD

Norris continued: “We want to do the experience again. In fact, we’re possibly expanding and creating six Harry Potter: A Forbidden Forest experiences. Hence, the reason I’m terrified. Whether we get all venues away, who knows but we’ve got our head down on venue searches.”

Norris confirmed that the event has covered its costs and that developing the experience even further will take Unify’s “attention for a while”.

“It’s the best thing I have ever done,” he concluded. “From the smallest seed of an idea to the team that we assembled and to

the growth we’ve seen, it’s been amazing.

It felt like we’d created this big family unit, reminiscent of my festival days, and I haven’t felt that for 10-15 years.

“That first night, when you saw the public experiencing the trail for the first time, you knew you’d pulled off something special, but that’s testament to the team who have worked so incredibly hard, and for me that was the stand out moment.”

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BEYOND FESTIVAL

Above and beyond Paul Brindley, owner and director of Beyond Festival, discusses the new one-day event set to rock Leicester this June

P

aul Brindley (known as Brina) is no stranger to the world of outdoor events. For years, he has created secret parties, provided event management and consultancy services to other organisers, and launched his own events.

Statfold Barn Festival launched in 2019, but the 2022 iteration of the festival has recently been cancelled; the festival’s venue was incredibly nervous about hosting the event. “It’s such a shame,” explains Brindley. “The venue has such potential and the festival had already built a loyal fanbase. COVID scuppered the event in 2020. In 2021, we fought the local authority over the premises licence and got them on board. We had started planning the 2022 event, but just a couple of weeks ago, the venue pulled out.”

It’s frustrating, as Statfold Barn Festival, nor Brindley, got the chance they deserved to put the event on the map. Instead, not one to rest, Brindley is concentrating all his efforts on Beyond Festival, a new event which will take place in Leicester’s Abbey Park on June 25.

Brindley, owner and director of Beyond Festival, is excited about his new venture, launched alongside fellow partners Scott Cook, Rae Hardy and Jack Meldrum.

“It’s been a coming together of minds,” Brindley comments. “We identified a gap in the market for a festival in Leicester city

centre. Manchester, Sheffield, London, Birmingham; they all have amazing urban festivals, but there’s nothing in Leicester.”

BIG PLANS

Brindley has a good relationship with Leicester City Council. Conversations about Beyond started pre-COVID, but COVID killed the vibe. The conversation was picked back up, post-lockdown, and now the council is incredibly supportive of Beyond; a 10,000 strong, one-day festival that has big plans for the city centre.

Brindley continues: “Abbey Park has a central lake, and the festival will eclipse the lake and wrap around it. Our motivation is all about getting to year two. In year two, we have plans to increase capacity to 25,000 people, take over the whole of the park, and add a couple of stages. And we might add a dance proms concert to the format on the Friday night, as I tour a 50-piece orchestra.”

SPENDING WISELY

Beyond Festival’s footprint will take up a third of the park in 2022. There are plans to create spin-offs and grow the brand in other areas, creating revenue streams that would support the festival in the summer.

This business model, coupled with the festival team’s experience, means that it can put on a lean production, a show without much wastage.

PAUL BRINDLEY “The trick and skill will be knowing where to spend wisely,” Brindley comments. “We will have to have strict control over costs. Everything is going to be a challenge this year. Infrastructure and production costs will increase. Artist fees have increased. Eventually, organisers will have to increase prices.”

Brindley concludes: “Costs are up – logistics, fuel, and transport. It’s going to be a difficult time for organisers, promoters, and everyone in the industry.

But Beyond Festival will stand out because it’s a long-awaited festival.”

www.standoutmagazine.co.uk n 19

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POWER SUNDOWN

Power: At what cost?

The Government’s ban on red diesel comes into effect in April, meaning power costs will increase. Power experts chat

F

rom April 1, the events industry will no longer be able to use red diesel and rebated biofuels to power events or festivals.

Many event organisers are aware of the upcoming change – that red diesel can no longer be used to power generators or plant on site – but there are some events professionals that remain unaware of the large impact that this new law is going to have on production costs.

PEARCE HIRE

THINK ABOUT EMISSIONS

The Government announced the ban on red diesel in April 2020, as part of its drive to achieve netzero carbon emissions by 2050.

But what does it mean for the events industry?

Red diesel is ordinary “white diesel” that is used in road vehicles, but it contains a dye and is taxed at a much lower rate. Increasing the fuel tax that organisers must pay is designed to make events professionals think of the emissions they produce, and it’s also hoped that it will encourage people to use cleaner and alternative fuel sources. It’s good news for the environment, but events and festivals will be hit hard by the change.

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Essentially, it means that from April 1, mobile generators and plant machinery used on festival/event sites cannot be powered by red diesel. And you can’t bulk purchase red diesel prior to April 1 either because HM Revenue and Customs intends to issue hefty fines if red diesel is not removed from bowsers by this date.

LACK OF AWARENESS

It’s worth noting that the ban only relates to the context in which it is being used and not the equipment itself. For example, red diesel can be used in a generator that is being utilised in an agricultural setting, but it cannot be used in a

generator on a festival site. Plus, it will still be permitted to be used to power the machinery of travelling fairs and circuses.

Right now, much work needs to be done to ensure that organisers are prepared for the fuel bill increases that will ensue, especially as many power experts are surprised at the lack of awareness of the upcoming changes.

“We’ve been genuinely surprised at how many clients are unaware of the changes and haven’t budgeted for the increase,” said Mike Whitehouse, managing director of Power Logistics. “It’s only been in the last month that the realisation has hit home and

it’s starting to be factored into 2022 event plans, as in real terms it represents a 30 per cent increase in fuel costs.”

George Nearn, project manager at Flying Hire, concurred. Many events professionals remain unaware that plant and machinery will no longer be allowed to use red diesel. As a result, organisers have not budgeted for higher fuel costs and have not even considered the potential threat of diesel theft.

“We are working hand in hand with our clients to do our very best to help them through the change,” Nearn explained.

“Essentially, it’s all about usage – lower the usage, lower the cost – so we are finding ways to keep usage down.”

LOWER USAGE = LOWER COSTS

Shaun Pearce, managing director of Pearce Hire, believes that people who routinely purchase large amounts of diesel are doing their best to plan and budget accordingly. Unfortunately, those who buy smaller amounts or who are “not professional or regular event organisers” are upset to discover the rising costs of fuel.

www.stuartpower.co.uk n 21

POWER

POWER LOGISTICS AT BOARDMASTERS He commented: “The severity of these changes makes this subject a difficult but necessary one to broach as early in the planning process as possible. As we have done for many years, we will continue to recommend and deploy the most appropriate and cost-effective solutions for all our clients based on their individual and unique event requirements. But we think there will regrettably be a detrimental impact across the board and that inevitably most event organisers will see their power bills go up this year.

“We expect to see a push from organisers to reduce their fuel usage to try and minimise the increase in fuel costs. The increased cost of diesel may make it more attractive for our clients to spend more on new and more sustainable technologies to reduce fuel use and, therefore, emissions.”

PUSHING BOUNDARIES = EXPENSIVE

From a policy standpoint, Graham MacVoy, site and operations director at Boomtown Fair, and CEO of GMC Events, is “OK” with the changes. However, he was disappointed that the Government did not delay the ban of rebated biofuels, which would enable an organiser to adopt a more staggered approach and move away from diesel gradually.

MacVoy said: “I think the changes will definitely make people look at their power consumption more, which is really good. I think it will take a few years to really impact, but it may well increase the speed of battery and hybrid development. However, there will be a lag on affordability and availability of equipment for sure. Technology still

22 n www.stuartpower.co.uk

needs to catch up and that takes investment and incentivisation from the Government, which isn’t really in place.”

At this year’s Boomtown Fair, MacVoy will test a new hydrogen generator and will use biofuel across the entire site. Yet MacVoy acknowledged that pushing boundaries is really expensive, and it’s a tough year for the sector to be trying new ideas.

EARLY PLANNING IS NEEDED

The rebated fuels affected by the changes include biodiesel and hydrotreated vegetable oil (HVO) but it’s worth noting that not all HVO fuels are the same.

Whitehouse argued that whilst there is still some uncertainty around the cost of HVO, such as Green D+ HVO, he believes that its price won’t increase significantly, which will make it competitive with diesel. As a result, he hopes that more organisers will use Green D+ HVO as a greener alternative, as the cost will no longer be eye-wateringly high in comparison. He said: “We’ve proved at the events we’ve supported over the last few years that it is a great alternative even in plant and machinery so that should be a positive step towards more sustainable events. In fact, taking it a step further and coupling it with our bespoke power monitoring system has decreased fuel usage and, therefore, fuel bills as a result. By talking to organisers early in the planning stages and devising solutions tailored to their events there are real savings to be made in both carbon emissions and costs.”

Pearce agreed with Whitehouse. Early planning is essential if organisers want

to navigate this whole new world of potential pain. Pearce continued: “We continue to champion the idea of getting information from organisers as early as possible. This includes finding out what the actual power requirements are; making system recommendations to minimise demand and once we’ve done all that to correctly size our generators solutions to fit. We’re also seeing an increase in opportunities to deploy battery systems to reduce generator running times. This is where our records and pre, and postevent evaluations of actual requirements will come into their own. We will be doing everything we can to help clients reduce fuel bills. Reducing engine sizes and running times at all costs is key to this.”

INVESTING IN THE FUTURE

During the pandemic, Pearce Hire converted its entire fleet of generators to operate using Green D+ HVO fuel.

This has a proven decrease in emissions, including a massive 75 per cent to 85 per cent reduction in particulate matter emitting from the fuel, alongside reduced greenhouse gas emissions, including nitrogen oxide.

Like Pearce Hire, Flying Hire and Power Logistics, which supplies Formula E, Extreme and Boardmasters, and has invested in new kit and technology too.

Flying Hire has just taken delivery of its first batch of Stage V compliant generators, which limit particulate matter, and Power Logistics has invested in super silenced generators, battery storage units, electric vehicle charging units and solar panels also.

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Whitehouse added: “Stage V generators vastly reduce emissions and are not widely available for use in the event industry at present. Coupling this carbon efficient generator with technology such as the 60kw inverter on 100kwh’s of storage battery unit is effective in charging the battery and optimal fuel efficiency.

“These innovations are perfect for smaller events or specific areas on site but we’re still quite a way from these being the norm.”

Pearce added: “We are in discussions with several clients with regards to the increased use of battery technology. But as with most green initiatives the cost implications become an issue. Having said that, the removal of rebated fuel will go some way to meeting the shortfall. As an example of where we are rethinking things, we love working with our long-term client AEG on its events in Victoria Park, London. We work in close collaboration with their team, and we are already looking at ways to continue our previous reductions in engine sizes, running hours, and the introduction of battery technology, where viable.”

ALL POINTS EAST IN VICTORIA PARK

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OTHER CONCERNS

But what of the coming season? MacVoy stated that GMC Events, which is working with Bristol Pride this year, will work and advise on projects, the same as it always has. Its focus will be to maximise efficiency of power networks and minimise fuel consumption. MacVoy continued: “At Shambala, some years ago, we started billing traders by kwh, which I would like to roll out to more festivals. The worry is that this just pushes traders onto using more gas, a fossil fuel, which is a shame if a festival is using biofuel.”

MacVoy believes that reducing end user consumption is the key to reducing fuel consumption. However, Nearn says that whilst the new changes raise many questions and are clearly a challenge for the upcoming season, the focus at the moment is whether power suppliers can and will be able to deliver kit and services, and if events can get off the ground.

Pearce concluded: “Another thing which concerns us may well be the impact on smaller and borderline budget events that will struggle with the new fuel price increase. The knock-on effect being that they will not happen at all, or fold after this year’s edition. These events are vital to the future of our industry. Not only do the more successful ones evolve over the years into larger scale events, but these smaller festivals and show nurture new talent coming up through the ranks, even those young professionals starting as volunteers on a local festival or show. The resulting effect of this cost increase could have a dramatic effect on crew for the larger shows in years to come.”

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MDLBEAST SOUNDSTORM

R - E -S - P- E - C -T MDLBEAST’s Soundstorm 2021 made a huge impact on the Middle East over four days in the desert. More than 732,000 visitors attended the festival, which featured a new anti-harassment campaign called Respect and Reset (R&R). Here, Judy Bec, head of operations at Boomtown Fair, reveals all about how she devised and delivered R&R, a zero-tolerance policy on harassment designed to make festivalgoers feel safe

T

ell us about MDLBEAST’s Respect and Reset (R&R) project and how the project came about I started working with the MDLBEAST team in August 2021. I was introduced to them by The Event Safety Shop early in the summer following discussions they had been having regarding the issue of harassment and violence particularly against women and girls at events in Saudi Arabia. As organisers, they are passionate and highly committed to having a positive impact on women’s experiences at events in the Kingdom.

MDLBEAST decided to create the R&R programme. It wasn’t called Respect and Reset when we first started, and we got through several creative agencies before my colleague and I came up with the title ourselves.

?????????

SOUNDSTORM 2021

In Saudi Arabia, men and women have only been legally allowed to mix in public since 2018. Therefore, attending largescale crowded events is still new to them.

Being in a crowded environment presents opportunities for harassment and other bad behaviours that have not previously existed, and just as in the UK, these opportunities are exploited.

The main difference between harassment at events in the UK and Saudi Arabia is that the men’s behaviour is bolder. Following the first MDLBEAST event in 2019, the social media campaign #MDLBEASTharassment trended across the region, and still in 2021, women who were asked about their primary safety concern at events cited sexual harassment as number one. Clear that whilst this is a wider, societal issue (and not just in Saudi Arabia), the MDLBEAST

© MDLBEAST/Getty MDLBeast/Getty Images/TimWhitby/Neville Images/TimWhitby/NevilleHopwood/Darren Hopwood/DarrenArthur Arthur

26 n www.standoutmagazine.co.uk

management resolved to bring the subject front and centre in the conversation from the early planning of Soundstorm 2021. Even if they couldn’t solve the problem at societal levels, they could start the education process through events, and aim to improve the experience of events for women.

Who pulled the R&R team together?

MDLBEAST reached out to The Event Safety Shop for advice on how to tackle the problem and tasked them with taking on the project in collaboration with the MDLBEAST team. They, in turn, engaged myself and Tami Richter [SXSW’s director of event staffing and resources] to develop the programme because both of us are event operations managers with experience in implementing anti-harassment initiatives at our own events.

MDLBEAST SOUNDSTORM

Knowing that we had their backs, the Saudi women quickly tapped into their suppressed rage, and they started to fight back and defend themselves

www.standoutmagazine.co.uk n 27

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MDLBEAST SOUNDSTORM

To support us in the process, MDLBEAST formed an anti-harassment crossdepartmental team, an awesome team of young and feisty Saudi women (and a token man to help smooth the way), who helped us to bridge the cultural knowledge, awareness, and language gap, develop the education campaign and support the operation.

Initially, during the planning phase, R&R was Tami and myself and five members of the MDLBEAST team.

What was the R&R team’s remit?

The R&R remit was to confront all forms of harassment. However, the most prolific form of harassment in Saudi Arabia is against women, therefore this was seen as the priority.

Being asked to lead this project felt like an incredible opportunity for me. My work at festivals in the UK is broad operations, most recently with a security focus; sexual assault, rape and harassment have formed some of the many issues we are concerned about. I never have the luxury, however, to stop and reflect on the issue from a 360-degree perspective. The R&R project was just that, and the chance to bring in all elements of good practice that we had witnessed at events in the UK and USA. We created a framework. Our priorities were to educate the audience in advance on what harassment is and the consequences of committing it; encourage reporting during the event;

and nurture an event community response by promoting the active bystander message. We then backed this up with an on-site enforcement operation.

How big was the R&R team?

The on-site R&R operation comprised 1,200 “ambassadors”, providing a visible presence as a deterrent and to assist any victims of harassment; plus, a multiskilled team of 20 UK and US incident responders and a small team of R&R Safe Space managers. We also took a small event control team to manage the R&R control desk. The international team was made up of security staff, safety advisors, ex-Police, ex-military, and experienced event professionals, sexual violence support experts and control room operators. Whilst we were not fully clear of the extent of the problem, we elected to engage a strong, mixed-gender, kick-arse international team so we were ready for whatever happened.

If you witnessed harassment, what protocols and procedures did you have in place to manage it?

We established a full operational plan, setting out a tiered approach for defining incidents of harassment with a corresponding escalation procedure and strategy. The escalation process ranged from intervention with no further action, issuing a warning, ejection, and Police

arrest. The outcome depended on the nature of the harassment, the wishes of the victim and whether we had detained the perpetrator.

An important cultural change that R&R brought to the region was in putting the victim first and adopting a “believe” response. We set up four R&R spaces as dedicated areas where people could report incidents of harassment and seek a safe space and support to process the experience. This flew in the face of normal policing practices and working closely with undercover female police on site gave us an amazing opportunity to showcase other ways of working.

What kinds of harassment were witnessed and how was this managed?

The types of harassment ranged from hair-touching (highly distressing for Saudi women); unwanted verbal sexual attention – comments, flirting; taking video footage without permission (this is illegal in Saudi Arabia); pulling off clothing, especially the abaya [full-length robe] and hair covering; dancing too closely; arse groping; grabbing the vagina and sexual assault by penetration.

The audience demographic was majority male. The small number of women at the event received a lot of attention from the male audience members. The ambassadors and response teams were mostly engaged with deflecting unwanted attention away from the women.

www.standoutmagazine.co.uk n 29

MDLBEAST SOUNDSTORM How did the R&R project run alongside security plans? Was it integrated with the security policy/plans?

MDLBEAST looked to integrate the R&R programme across the production and operations. Therefore, the R&R operation ran as a parallel security operation, supported by the security teams, but with a single focus. A significant benefit of this was that we were able to support each case, giving them all the time they needed.

This allowed security to move on.

As R&R, we followed the security policies and plans regarding escalation, and supported the security operation as needed.

A core team of UK and US events professionals worked with local companies and resources, teaching them about anti-harassment and events. Can you explain more?

We worked closely with the MDLBEAST Saudi team, which was an amazing experience. We bridged across the teams from MDLBEAST and the American production company because we were working so closely across multiple teams and the aim was to integrate R&R into all elements of the event.

The staffing company, which provided the ambassadors, was a local company, and we experienced challenges in the different ways of working and expectations in Saudi Arabia compared to working in the UK and US. We both found ourselves on a steep learning curve. The language barrier proved to be an impediment when working directly with the R&R ambassadors.

We provided bespoke anti-harassment training to the ambassadors the weekend prior to the event, supplemented with on-the-ground briefings. The biggest challenge was the lack of event awareness, and the understanding of what to expect and how to navigate event working, such as moving through crowds. Of the 1,200 ambassadors, we can confidently say that there was a core of about 400 highlyengaged and committed staff who really delivered the R&R programme and who gained a greater insight and knowledge in events, harassment, and victim support.

The MDLBEAST R&R team worked alongside us closely and got actively involved in responding to incidents of harassment during the shows. Recognising that the R&R project was not going to eliminate societal harassment in four days, it was created with a long view, and part of that needs to be the passing of knowledge and experience on to the local Saudi staff.

2021 was the start of the process.

What lessons did you learn?

After the first night, we understood a lot better the behaviour of the audience, the areas where we needed to focus our efforts, and we adjusted our deployment and operation accordingly. The wider learnings that we took away were that the harassment behaviour was very opportunist, that the men were fully aware of the

30 n www.standoutmagazine.co.uk

TEAM R&R

INTENSE PLANNING MEETINGS inappropriateness of their actions, but were quick to deny wrongdoing, and that by offering highly visible/accessible reporting mechanisms and effective support (and consequences), people reported incidents.

The most exciting learning that I took away was that after four nights of running the programme and offering support to the female festivalgoers, there was a tangible sense of empowerment amongst the women. Knowing that we had their backs, the Saudi women quickly tapped into their suppressed rage, and they started to fight back and defend themselves.

Did you learn anything working on MDLBEAST that you can take and implement on a UK festival site?

The programme that we implemented for Soundstorm is highly transferrable to events elsewhere in the world. The nuances of the language may change, but the problem is the same everywhere, and the

solutions are equally applicable. It was a huge opportunity to test strategies.

Has your MDLBEAST experience opened your eyes/mind to new ideas in terms of harassment and how could UK security teams adopt these measures?

Going out on the ground to deliberately monitor for harassment and apply techniques that we had been teaching the ambassadors, particularly around the active bystander model, was very enlightening.

I had to work through several of my own internal resistances and biases/assumptions to engage with and deflect potential harassment situations. Exploring the options showed me how incredibly effective the bystander techniques can be, and that this is an area we should really focus on for UK security teams at events this year.

MDLBEAST’s R&R policy/code of conduct can be viewed in full at www.mdlbeast.com

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www.event-in-a-tent.co.uk •Tel: 01978 661449 •info@event-in-a-tent.co.uk www.standoutmagazine.co.uk n 31

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We expect events to return with vigour and anticipate a level of pent-up demand that we haven’t experienced in a generation

EVENTS WILL RETURN WITH VIGOUR

© Danny Howe

Understanding event risks What lies ahead for live events and festivals? Tysers Insurance Brokers’ Tim Rudland and Tim Thornhill provide their thoughts on the year ahead

I

t’s nearly two years since the first announcements of closures, lockdowns, and cancellations but finally we can now cautiously look to the future with more positivity. As restrictions are being lifted in many countries, tickets are selling out and there is consumer appetite to get back to enjoying life at festivals and events, which bodes well for 2022.

Whilst there’s a backdrop of increased insurance rates and uncertainty about the supply chain continues, there’s still much to be excited about. We expect events to return with vigour and anticipate a level of pent-up demand that we haven’t experienced in a generation.

SUPPORTING EVENT ORGANISERS

Entering what will be an extremely busy season, insurance protection is critical.

We expect there will continue to be some gaps in insurance cover (such as elements of COVID-related cover for cancellation policies) because of the huge shift in insurers’ appetites. However, we continue to work on solutions.

Now it’s more important, than ever before, that we get to know our clients and understand their event’s risks. Insurers will want to see that the organisers are

32 n www.standoutmagazine.co.uk

taking every element of risk management seriously. Together, we can extract those positive features to help us demonstrate to insurers that an event is a risk they would want to insure and therefore, offer their most favourable terms.

PRODUCTS TO THINK ABOUT

Another cancellation risk which organisers should be aware of is National Mourning. Any period of national mourning could cause your event to be cancelled. This cover is often excluded from a standard cancellation policy. Those running events should check with venues and suppliers and examine contracts to see if they include a clause which details an occurrence of national mourning. You can then gauge any potential exposure and decide whether to offset the risk with cancellation insurance protection. In general, the more days you need to insure for national mourning, the more expensive the policy.

In addition to the pitfalls of sourcing a robust and cost-effective cancellation policy, we wish to highlight an oftenoverlooked element of cover for organisers: Motor insurance.

If a vehicle or item of plant is driving on a road (and the definition of a road is very broad; according to the Road Traffic Act 1988, section 192(1) a “road” means any highway to which the public has access) then your Public Liability Policy will exclude any third-party liability.

Whilst there are shades of grey, for example there could be a bridleway running through your site or the requirement to drive into a public area during a show, both these examples could fall foul of the exclusion, meaning any damage or injury caused would be excluded by your Public Liability Insurance.

Short period motor cover is not readily available, and most insurers require registrations/VINs before they’ll even quote.

We have an exclusive motor facility to plug this gap. Insurers allow us to provide you with a blanket cover note so all vehicles declared are insured, meaning there’s no waiting around once vehicles are delivered!

We insured more than 500 UK festivals in 2019 and continue to work hard to help our clients access the insurance cover they need, at the best possible premium. Our aim is to continue to support the industry and its connected supply chain throughout this crucial period of recovery.

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www.standoutmagazine.co.uk n 33

PROFILE

Leading the way Tim Collett is WRG’s first managing director.

Here, he explains how the world of events has changed and how he plans to make his mark on the business

I

’ve never been one of those people who said: ‘I need to be managing director’ – it’s just something that has happened organically,” says Tim Collett, the newly appointed managing director of WRG, a division of The Creative Engagement Group.

In fact, Collett is the global experience agency’s first MD; his role is a completely new one and he will lead a new leadership team, focusing the agency’s efforts on five key priorities; innovation, experience design, sustainability, talent development, and diversity, equality, and inclusion.

“Now, more than ever, we need to focus on growth,” he explains. “As an agency, we’ve evolved, our leadership team has evolved, and we needed someone to lead.”

THE WORLD HAS CHANGED

Collett joined WRG in 2017 and was global head of live events at the agency before picking up his new crown. Prior to joining WRG, Collett was VP executive producer at Jack Morton Worldwide.

A staunch believer in the power of live events and experiences, he believes that the industry will see a return to live.

Hence, he is refocusing the agency’s efforts, and ensuring it is making the most of the best opportunities available.

“In 2019, certain events took place in the live environment but have found a better home in the virtual space. This is completely dependent on the purpose of the event, as opposed to the content, and virtual is an important tool, but it mustn’t replace live and human experience.”

However, to achieve the best results, there needs to be a short to medium term adjustment. Industry needs to better understand what now motivates people to attend events. He adds: “There are lots of challenges to overcome. We have all learned a lot in the last two years. I am keen not to look back and recreate events from 2019.

That would be wrong. The world and teams have moved on and so we can’t be left behind. Things will be different.”

INSTIL CONFIDENCE

Collett’s new leadership team includes the expertise of Simon Davenport, head of environments, Saira Dickinson, cohead of event production, and David Jones, head of event technical delivery.

Together, they will work hard to position the business for future growth. Collett continues: “The live world is centred on human experience so we will have to understand new behavioural motivators and psychological ones. They’ll be costs too but not just production costs, costs to the environment and cost to delegates, their mental and physical health. We’ll have to think of the costs to their lives if we want to fly them round the world. What are we giving people outside of a virtual environment? And I think because of all that, we will have to work harder on experience design.”

Collett believes that live events will “kick back in” in the second half of the year.

Previously, WRG has helped clients pivot into the virtual world and now the agency is helping clients to pivot back out.

“There is slight nervousness, and we need market confidence before clients commit to projects,” he adds. “I believe now is the most exciting time to be in our industry and part of WRG, as our audiences push us to be more digitally creative and environmentally accountable, and our clients push us to keep innovating and help them create experiences that inspire the lasting change the world needs. To be a success, we must also focus on nurturing the next generation of talent and address the need to be more inclusive as an industry.”

Collett will be steadying the nerves and bringing his team together, motivating the next moves. It’s also important to him to motivate the next generation of events professionals to join the sector and create an environment where they can thrive.

But what is Collett’s personal leadership style and what does he bring to the new role? “I will instil confidence,” says Collett.

“I want to help people to achieve their personal goals. I won’t be leading on any projects, but it’s also important that I don’t lose touch with what’s happening. I will play my part but it’s important that the business is led and that I look ahead and see what innovations I can bring to the table.”

Collett concludes: “Our industry is still a key driver for growth, and it is physical experiences that will make our industry.

It’s our job to create experiences that audiences want to invest in financially, physically and emotionally and so you have to create the experiences that people want, and provide attendees with real value.”

I will play my part but it’s important that the business is led and that I look ahead and see what innovations I can bring to the table

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PROFILE

TIM COLLETT www.standoutmagazine.co.uk n 35

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MARQUEES

Back to business Marquee and structure experts discuss the upcoming season, event trends, and new products

E

ighty-six per cent of marquee suppliers and 91 per cent of marquee hirers have increased their rates for 2022. These are the top line figures from the latest member survey by MUTA, the trade association representing the temporary structure and marquee industry.

MUTA’s latest survey results signal a challenging year ahead in terms of infrastructure, resource, and supply. More than 50 per cent of hirers are unsure if they have the infrastructure to complete their scheduled work this year and 27 per cent have indicated that they would not be able to fulfil their bookings with their existing workforce.

Resourcing is a massive issue and MUTA’s statistics are bolstered by anecdotal evidence from a range of structure and marquee suppliers. Ben Scroggie, managing director of MarKey Group, Lee Dalton, sales director at Roder UK, and James Merrick, director of All About ME, all believe that staffing will be the sector’s biggest struggle this year.

In fact, Scroggie describes the situation as “critical”.

“We are reigning back on event work,” Scroggie says. “We’d prefer not to do an event rather than let someone down at the last minute.”

Scroggie explains that during COVID, Mar-Key Group focused on manufacturing industrial units. As a result, the business has been able to balance seasonality so that it can be more selective of its event work.

He continues: “Those companies that were able to change their revenue streams have lived more of the business changes, compared to event companies who completely shut down during the pandemic. Now they’ve come back, the changes are a shock to them.

“2022 is going to be interesting, but it’s also going to be hard. You could get suckered into over trading, but the only people who would then suffer would be your staff.”

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This year, Mar-Key Group will supply structures to Royal Ascot, Royal International Air Tattoo (RIAT), Polo in the Park, and Southampton International Boat Show. RIAT is a new four-year contract, and the Polo in the Park contract is a new five-year deal with Sportgate International; both are demonstrative of the multi-year agreements that Scroggie is keen to attract.

“Everything we’re doing is built around a multi-year deal, so you know where you’re going, and your employees do too,” Scroggie adds. “We’re recruiting like mad. The challenge will be on our overheads but if you’re looking to the future then you must invest in staff. You can have all the kit in the world but if you have no one to put it up then it doesn’t matter.”

www.roderuk.com n 37

MARQUEES

SOUTHAMPTON INTERNATIONAL BOAT SHOW PROCUREMENT AND PLANNING

Further figures from MUTA’s members survey suggest marquee providers (82 per cent) would be willing to work with other members to help fulfil their bookings. There is certainly an increased appetite and willingness towards collaboration, problem solving, and support.

Dalton states that 2022 is going to be a ridiculously busy year. Roder UK is receiving vast enquiries from organisers looking for structures as their incumbent suppliers are now unable to provide kit.

“There’s two-and-a-half years of pent-up demand,” comments Dalton. “We have some availability to do some rental work and we have an adequate amount of kit, but I do foresee some road humps in the industry this summer.

“For example, we have had two enquiries from organisers for structures for the same weekend in July. Both have been let down by their previous supplier but only one

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can have the kit. It’s a case of who will book first.”

Previously, some organisers would wait till last minute to book equipment, including marquees, but it’s no longer the case. Organisers have ramped up their procurement drive and planning has started early. Dalton agrees, as he confirms that Roder UK will be supplying structures to The Suffolk Show 2022.

NO AVAILABILITY

Indeed, it will be a busy year.

Duncan Russell, managing director of Ten By Fifteen and The Stunning Tents Company, concurs. He explains: “Everyone is excited to be getting back to doing big events, and as long as we’re not hit by more restrictions, it’s going to be a more enjoyable summer.”

He continues: “In 2020, you had to take a good look, adapt and deliver what you could.

Supplying structures to venues and hotels was a big part of our business in 2020. In 2022, that business is still there. We have managed to grow with

new workstreams and a new pipeline, but now we have to keep our new customers happy and our old customers.”

Ten By Fifteen ended 2021 with 50 per cent of its weekends booked for 2022; three months earlier than usual.

Russell adds: “The challenge in 2021 was the availability of agency crew for last-minute opportunities. The problem is that we’re already so busy in 2022, we’re not able to take on extra jobs.”

DEMAND FOR NEW PRODUCTS

Ten By Fifteen will supply kit and services to Badminton Horse Trials later in the year.

The company does have new stock available, as it acquired a lot of PapaKata’s portfolio, including Sperry Tents and tipis, when the company ceased trading in 2020. And it’s not the only structure company that has new items available for hire. Despite the challenges and “rollercoaster” of the last 24 months, several companies are either developing new

products or have plans to release new kit into the market.

For instance, 2022 will be All About ME’s first full season with an inventory of Sperry Tents, Event in a Tent is developing a new domed product, Roder UK is working on a new tent for 2023 that will be quicker and easier to install, and Mar-Key Group has a “big new product in development”.

Scroggie explains: “It’s called the Horizon and it will be ready for next year. It will have a 60m roof span and it will sit on eight, ten, 12 and 14-metre legs. It’s a clearspan structure and you will be able to load five to six tonnes on each arch in the roof space.”

Scroggie says that the company has seen a need and a desire from organisers for large structures that can be used in a variety of ways.

Flexibility is, and will be key, moving forward.

Dalton concludes: “It’s great to see demand in the market.

COVID could have dampened interest in events, but events will come back with a bang.”

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TEMPERATURE CONTROL ARCOTHERM

Pure and simple Temperature control experts talk trends, new products, and best practice

I

n recent years, wavering temperatures and inclement weather have placed increased demand on temperature control experts – requests for air conditioning units and even heaters have gone through the roof. Now, there is huge demand for air purification equipment, as organisers look to improve ventilation within structures and venues.

Andy Gilman, director of Climate Supplies, explained: “We’ve added a wide range of air purification equipment and we’ll be adding more in the coming weeks; in light of the events of the last two years, this is now the ‘must-have’ product.

The benefits to organisers are, of course, obvious in that the quality of air inside the structure improves significantly.”

Joshua Murphy, events sales manager at Acclimatise, part of Cross Rental Services, which supplies equipment and services to Wimbledon, concurred. The company is also experiencing more interest in its air purification fleet and believes that it’s important to keep guests at an ambient temperature whilst safe from airborne germs and viruses.

INCREASED DEMAND

According to both Gilman and Murphy, demand within the events industry for temperature control products has escalated. Murphy continued: “Following COVID, the events industry has ramped up.

We are seeing rapid growth and we have more jobs confirmed for 2022 already.

Also, following our most recent acquisition

40 n www.arcotherm.co.uk

of All Seasons Hire, we have strengthened our share in the market with a wider depot network and larger fleet.”

Cross Rental Services benefits from an in-house manufacturing team, which means that the company can anticipate demand and add to its fleet accordingly.

And with summer approaching, Acclimatise is investing also in its air conditioning capabilities, as it looks forward to a packed events calendar.

ENVIRONMENT AND EFFICIENCY

Murphy recommends that organisers put an environmental plan in place. He said: “As we are working towards a more sustainable climate, we offer various solutions to make an organiser’s event greener and more efficient.”

Efficiency is key. This is something with which Gilman agrees. Climate Supplies believes in quality service and value for money, combined with a modern-day twist on environmental awareness or, as the company likes to put it, “climate control with a conscience”. To mitigate CO2 emissions from its range of heaters, and in collaboration with more:trees, Climate Supplies plants a tree for every unit sold and, to date, has sequestered more than 22 tonnes of CO2 since the company’s inception in September 2021.

It’s true. Organisers are looking to be more sustainable with their temperature control choices. Jim Bush, head of business at Arcotherm, agreed. Arcotherm is receiving more requests for products that

CLIMATE SUPPLIES will run off HVO (Hydrotreated Vegetable Oil) and the company has recently launched a 40kw electric fan heater with multiple power settings, ideal for people looking to further reduce their carbon footprint.

But again, efficiency is key if an organiser wants to reduce fuel costs, save energy, and reduce energy consumption.

Bush continued: “Ensure that the calculations used to work out the required heat input are accurate and always go for a heater that is slightly bigger than required. This way the heater is going to operate more efficiently.”

Gilman concluded: “Events professionals continue to ask questions like: ‘What size of heater do I need for a certain marquee?

“I always say think about the bigger picture – buying a smaller heater to save on cost can result in increased fuel costs if it has to work harder to achieve the required result.”

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VIEWPOINT

Back with a bang!

Whilst there will be challenges, 2022 looks promising for the events industry, so says Jim Davey, managing director of Redwood Event Solutions

An industry at capacity may mean that newer, smaller, or spontaneous events may struggle to find supplies if unable to commit funds ahead of spring

I

t’s been an incredibly busy start to the year and believe me, I am not complaining. Seeing the industry bursting into action after the challenging years we’ve experienced is extremely exciting and feels very positive for the future.

For the events that did take place in 2021, there was so much uncertainty around COVID restrictions, regulations and constantly moving goalposts, that the window for planning was greatly diminished and we had to be more flexible and reactive than ever before to get the events that did happen off the ground.

This year, there is a feeling of returning the sector to its full capacity as quickly as possible, forging ahead with event plans and filling the core event season from May to September.

Whilst we can never know what is around the corner, by putting best laid plans in place we can start to make up for lost years and help rebuild the industry that we know and love.

However, we cannot underestimate the impact that the last two years has had on

the industry and recognise that our approach needs to appreciate there will be challenges in 2022, perhaps some that we’ve not been used to or experienced pre-COVID. This year, the planning process has started earlier than certainly we’ve experienced at Redwood. The volume of licence applications has increased dramatically and as with all industries, the resources of local councils are stretched. This is resulting in tighter deadlines to submit applications and necessary paperwork, and in turn putting more pressure on organisers and health and safety teams to produce the applications to meet these deadlines.

This movement towards shorter timeframes is having a knock-on effect on everyone in the industry. When attending the recent Event Buyers Live, conversations with organisers and suppliers echoed the desire to lock in contracts as early as possible and before the end of January 2022, a timeline that has certainly shifted from pre-COVID times.

This new pace to get all our

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PUB IN THE PARK ducks in a row is sure to have some benefits – contractors will have a very clear picture of the year ahead and in many cases reach their capacity of provision. However, an industry at capacity may mean that newer, smaller, or spontaneous events may struggle to find supplies if unable to commit funds ahead of spring.

There will also be some expected requirements for events that will remain in place this year following the pandemic. Additional cleaning regimes for event sites and an increased footprint for visitors are likely to remain as valuable controls and I’m sure will be appreciated by event guests.

There is a chance that these changes will be a hangover from the pandemic and will slowly revert to the preCOVID way, or we may adopt these new timeframes as our industry’s “new normal”.

2022 is going to be busy.

Perhaps one of the busiest years the industry has ever seen. The demand for events and experiences is sky high, there is a whole generation of people looking forward to experiencing their first festival after missing out on two years, whilst others are looking for their summer of festivals and fields to return. One thing is for sure, the year looks promising for our industry.

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VIEWPOINT

Get your house in order The events industry has changed in the last two years, but are you still using the same event marketing techniques? Ed Norris, co-founder and commercial director of Mustard Media, shares his thoughts on the rising trend of outsourced event marketing and why he thinks it’s time to honestly assess your in-house marketing capabilities and rethink your marketing moves

Big launches are now even more important to get your events noticed

I

won’t teach you how to suck eggs, but as we all know, the events industry has changed dramatically in the last two years.

One of the changes which I’ve not seen mentioned anywhere, is how event company structures have altered and what possible opportunities this brings.

For anyone overseeing any kind of budget, you will have had to reduce costs to the business wherever possible. In many cases like ourselves, this included letting go of amazing staff to ensure the company survives whilst there are no (or few) events able to go ahead. However horrible, it’s an essential part of survival for both the business and protecting the remaining employees at the company.

ADAPT YOUR CAMPAIGN

Many event marketing departments have scaled back to a skeleton team, and use freelancers or agencies, to fill the gaps when they need to. We go into 2022 with optimism for events this year, however we’re not out of the woods quite yet. Whilst we recover, the shift to freelancers and agencies means you only pay for the work you have on, and tap into expertise you may not be able to hire in.

Alongside your structural changes, comes a complete rethink in how you approach your marketing campaign.

The yearly rhythms and usual marketing playbooks you used to use, need to be

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thrown out. No longer can you rely on the timelines and tactics you once did. There’s a huge number of new considerations never faced before. At any point, a news notification can drop, and ticket sales suddenly stop so reactivity and timing now are fundamental to success. If you get the timing wrong, you can say goodbye to a sell-out event. Gen Z and millennial eyeballs are ever more distracted amongst a world of screens and channels competing for attention. Big launches are now even more important to get your events noticed (and they were already critical to success) alongside scarcity tactics to ensure customers purchase instantly, safeguarding against imminent BBC News notifications driving negative waves of ticket purchasing.

The yoyo-ing of customer confidence is an ongoing challenge too, one which needs to be tackled with live data to inform your next moves within your marketing campaigns. By having access to ticket sales, Google analytics, paid media analytics and marketing campaign data, you can adapt campaigns in the moment, ensure your budget is spent wisely and pick the correct time to drop your big moving pieces of content.

MONITOR DATA POINTS

Slimmed down marketing teams provide much needed relief for companies, but they come with a warning. Often, the

newly formed smaller marketing teams are expected to perform not just on par with the full previous team but better. They are supposed to navigate an extremely difficult period with completely new plans and challenges. Work then becomes reactive rather than proactive, and there is no strategy which is being followed, only overflowing jumbled to-do lists and unmanageable expectations. It’s likely you have tasks being done by either too senior or too junior employees or perhaps without the expertise required.

In these instances, you need to provide back up to your team, when they need it most. You need specialists in any areas in which you are lacking the expertise and you need to ensure you are not getting too bogged down with too much on, it’ll only lead to burn out and employees leaving.

You need to monitor data points daily, ensure the top-level strategy is strong enough to combat so many changes and have enough resources to implement the key big moments within a strategy sufficiently, along with the daily routines of running marketing campaigns.

What do you need to outsource? You may already be thinking about specific expertise, such as paid media for example, however it’s not always so clear. For example, do you have a strategy which you are confident will take you to where you need to be? Do you have data and experience to back this up?

VIEWPOINT © Robin Worrall/Ross Sneddon/Colin Lloyd

ELEVATE YOUR MARKETING

The best two ways to think about your marketing team are as fractional executives and internal drivers.

Fractional execs are highly experienced professionals, who have been there, done that and got the lanyard. Unless you are a large organisation, these are a luxury which you will not be able to afford. They are also extremely difficult to recruit and retain and would need a large support team structure. These people may be too expensive to have in your team all year, but you can still get their knowledge when you need it most from freelancers and agencies. If you do not use this level of support yet, the level of expertise it brings, can elevate an event to the next level. Even some of the biggest event companies and organisations use fractional execs to think outside the box, challenge the status quo and combine knowledge to keep your event or festival progressing.

Internal drivers are your amazing internal marketing team. They live and breathe your brand and implement the day-to-day marketing, which does not require the same level of expertise or quantity of work as the fractional executives. Depending on the level of your event will depend on the level and number of this type of person. These are generally mid-level marketeers which have someone in the organisation directing and keeping everything on track.

The fractional executives will…

• Diagnose key challenges, which are holding you back and combat them with actionable solutions • Challenge the norm and create a unique solution encompassing experience, your historical data and up-to-date data and trends • Set your marketing strategy (along yourselves, as no-one will ever know the brand as well as you) • Provide proven techniques and tactics within the strategy • Identify KPIs to tracking to ensure you can measure success for on-going progression • Provide introductions or advice on using external companies, brands, technology, or platforms to gain more data, convert a higher percentage and sell more tickets, faster.

• Implement high-level marketing tasks (such as a multi-channel paid media campaign) • Provide data reports which are easily understandable and with suggested improvements.

The internal drivers will…

• Implement your marketing strategy set by the fractional execs on a day-today basis • Liaise with your fractional execs, who are providing implementation, to ensure they have all the assets they require • Run your social media accounts, making sure everyone is responded to in a timely

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VIEWPOINT manner and ensure there is constant nurturing of your audience • Maintain your brands tone of voice through all communication • Create and send email marketing campaigns • Create and build strategic marketing partnerships with media outlets, social media pages and influencers • Brief and manage photo, video, graphic designers, illustrators, and content creators • Liaise with PR/SEO/web specialists to ensure everyone has the correct copy and creative required, and analyse reports, which come from any third parties to ensure they are all doing their job correctly (against the KPI setting).

• Liaise with ticket outlets ensuring their marketing efforts are working and any ticket counts or allocations are (smaller teams only, larger organisations will outsource or provide a dedicated team) and being reported on.

• Attend marketing workshops, calls and meetings with fractional execs and thirdparty partners.

EVALUATE WHAT YOU NEED

We’re not only seeing a big increase in demand for fractional execs, but also internal drivers. The drivers are much more surprising, as paying agencies are often more expensive than having someone in-house. After all, they are doing timeconsuming work, so it usually involves one or two full time positions for the length of the marketing campaign (depending on the size of your event). This does, however, mean you can hire experienced people with a proven track record and leave them to do all the implementation.

You then must jump on weekly calls and look through reports, rather than being in the day to day. Not to mention the added expenses and time of having extra staff members and possible time when they may be employed but with little or no work due to uncertainties.

How does this work then in practice? We often see the following set up as most common: Your outsourced fractional execs • Strategy director + supporting strategy team • Head of paid media + supporting implementation paid media team Your internal drivers • Marketing director (this sometimes is the promoter, depending on size of event/company) • Marketing and social media manager • Marketing assistant and community manager More “traditional” outsourced teams • Press team • Graphic designers • Illustrator/animators • Photographer/videographers

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A lot of us have had to change our company set up to navigate the last couple of years. However, this does bring the opportunity to shape it in a more efficient way. Do not just jump right back into hiring a like-for-like replacement for someone who has left. Evaluate what you need, and see if there’s another way in which that role could be fulfilled to a higher level, with the same or less budget. You may have spare capacity with other team members who can pick up certain tasks and outsource the more high-level or specific expertise.

KEY TAKEAWAYS

• The festival and events industry has big changes in marketing company set ups.

They are looking more to outsourcing to keep overheads down, only paying external expertise as and when they need it rather than on payroll.

• Alongside company structural changes, event and festival marketing campaigns have changed dramatically in approach, meaning a new strategy is required to combat new challenges.

• A scaled-back marketing team presents a new set of challenges, the team will be stretched and likely working day to day, with no proper vision and being reactive rather than proactive, not getting the expected results.

• You should be looking to boost the team with specific outsourced help, when they need it most, looking at both expertise and internal resources.

• When considering, split these up into two categories (both essential to long-term success) fractional executives and internal drivers.

• Fractional executives are highly experienced professionals who provide clarity and data around your campaign. No matter how large of an organisation, these people hold their own, challenging the status quo and providing real value and ROI when you need it most.

• Internal drivers are your day-to-day implementers and number one fans of the brands. They are living and breathing the opportunity to work in such a creative and exciting industry leaving no stone unturned.

• Demand for the fractional executives has increased dramatically over the last 18 months from the lack of resources within marketing teams and companies not being able to rely on previous marketing strategies.

• Demand for internal drivers has also increased, due to many internal teams being reduced over tough times with no events being able to be held and some completely going from an events team.

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IN IT TOGETHER

COLOUR CLASH

MARK HOPKINS

We want to be Together In It Together is a new festival set to open in Wales this June. Mark Hopkins, festival director, reveals all

I

’ve wanted to do a big show with live music and camping for many years,” says Mark Hopkins, head of festivals and live music at Escape Records. “We’ve always created a show with one genre of music, but lockdown gave us time to develop the concept.”

The concept that Hopkins talks of is In It Together festival, which will debut this summer in Margam’s Old Park Farm, Wales.

Taking place from June 3-5, In It Together is pitched as a multi-genre, family festival, which comes complete with a “Bring your Grandparents for free” initiative and five stages of music and entertainment.

and what we were trying to do, and I think that our line up dictates your credibility in the market.”

According to Hopkins, the line-up is right; Noel Gallagher’s High Flying Birds, Two Door Cinema Club, Clean Bandit, Armand Van Helden, and Tinie Tempah will perform at the festival. “We wanted to release details of In It Together earlier, but we wanted the right sentiment, so we held off,” Hopkins continued. “Everything had to be right. We needed our audience to go to events and get some confidence under their belt.”

CREDIBILITY AND CONFIDENCE

Ticket sales are going well and the event’s premises licence has been approved, Hopkins confirmed. The team hopes to attract a 40,000-strong crowd, comprised of young and old people, different races, genders, and sexualities. “The festival itself is born from and based around the ethos of a celebration of life, of freedom and of togetherness,” added Hopkins.

“The past couple years have been an incredibly difficult time for all of us, with families around the world not being able to see their loved ones for longer than ever before. We’re taking the idea of a family festival that one step further, enabling families of all shapes and sizes to be able

In It Together has been 18 months in the making. Hopkins and his colleagues spent a lot of time in 2020 planning shows that didn’t happen. “We thought the situation would improve and it didn’t. By the time we’d rescheduled our final show, we felt deflated. So, we thought let’s use this time to create an event and come out of the blocks with an amazing show.”

He continued: “We spent a long time planning. We presented the idea in September 2020, it was signed off by October 2020, we made offers on artists in February 2021 and we launched in September. People bought into our vision

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TOGETHERNESS AND TICKET SALES

to join us for an incredible weekend at an extremely cost-effective price.”

Plans for In It Together include five stages, luxury camping options, a dedicated campsite for 16-17-year-olds, a separate quieter campsite for those who want to relax, “amazing décor” and “lots of surprises” to create an “experience that has never been done in Wales before”.

PROCUREMENT

Hopkins is responsible for procurement and has contracted SWG Events, Project Power, Tip Top Marquees, Streamline Leisure, Sunbelt Rentals, Skiddle, The Last Mile, and We Are The Fair to supply kit and services to In It Together. He explained that he tries to use the same suppliers for all his shows (Colour Clash, Inside Out and Party at the Park), believing in camaraderie, and said that other than one or two areas, he has booked all his infrastructure.

“I’ve done it really early because you have to have it done,” he said. “And we’ve done a multi-year deal with the farm.”

Hopkins has big plans for In It Together.

By year three, he wants to grow the festival to 50,000. He admits it’s not a massive jump, but he will be happy with 10 per cent year-on-year growth.

Hopkins concluded: “We’re being ballsy, and we want to knock it out of the park.”

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VIEWPOINT

Play with your policy Is your lost child policy fit for purpose?

Janthea Brigden, CEO of Nipperbout, the event childcare specialist, thinks not…

Did you know that it is illegal to be drunk and in charge of a child under the age of seven?

Y

ou may know that you need to have a lost child policy for your event, but when was the last time you updated yours? And did you just put it in a drawer, or did you communicate your policy to all your staff on site?

IS IT ROBUST?

When I run our lost child courses, I always start by asking our delegates to describe their lost property procedure. They tell me about their policy in depth; how they would never hand back a wallet without being shown some ID, and that they’d need to see ID or proof of ownership before handing back a mobile phone.

And that, of course, they would ask for a name, address, and signature to verify the return. My next question is about their lost child policy and the answers are never as detailed; most people hand a lost child back to an adult without any of these measures; without checking ID, and without asking them to verify and sign a book. Therefore, are we more concerned in safeguarding lost property than safeguarding our children?

THE IMPORTANCE OF SAFEGUARDING Most organisations don’t realise that if something happens to a child, the Police will look back over that child’s activities for the last three months.

Every action, place and contact would be scrutinised, so it’s vitally important that staff understand their duties and

50 n www.standoutmagazine.co.uk

responsibilities towards safeguarding children, especially when that child has been in their care, i.e., when they turned up at your event’s lost child point.

Safeguarding children is becoming even more important, as many children are now falling through the net; child sexual exploitation is increasing and children as young as seven or eight are now being targeted. Security staff and anyone running a first aid point should have basic safeguarding training so that they know what to do and who to report to if they have a concern. They key point is to ensure they understand that if something “feels not quite right” then they must report it to someone senior. If that senior person does nothing, then they have a right and a duty to report it to the relevant local authority Multi-Agency Safeguarding Hub themselves.

When we run our lost child training, there is a section at the end about safeguarding, where we cover signs and symptoms and how to recognise them.

Delegates frequently tell us of occasions where things haven’t felt right but they doubted themselves and so didn’t do anything. Examples include children who seemed afraid of parents, children who smelt of urine and seemed hungry, and children who drew inappropriate pictures or used “adult” language. All of these are key indicators but because no one had told the people we were training that they needed to be on the lookout and to

report these things, nothing was done.

Event security staff, shopping centre staff, people in hospitality and leisure are all in an excellent position to help safeguard children if only they knew what to look out for and how to report their concerns.

COMMON MISTAKES

So many event and festival organisers don’t update their policies on a regular basis, which means that they continue with the same old practices, without understanding what the consequences of that might be. For example, some organisations still insist on not giving out any information about the child over the radio, not even giving a description, because they think they’re protecting the child from predators overhearing. But we now know that this hinders the search for the child, and potentially puts the child at greater risk. The more people who are looking for the child, and the more eyes you’ve got helping you the better, because there are always going to be many, many more people that are helpful than are predators!

Another common and potentially dangerous mistake would be to broadcast the child’s name over a busy radio channel. It’s sometimes done to enable a security guard to approach the child with their name to reassure them, but a child’s name in the wrong hands means that someone with bad intentions could also reassure the child.

VIEWPOINT

STAFF SAFETY

Lost child procedures should consider the safety of your staff as well as the child.

Putting a member of staff in a one-to-one situation leaves the member of staff open to allegations. Would an employee cleaning the toilets know what to do if they found a child crying alone in a cubical?

COMMUNICATION IS CRUCIAL

Even if your lost child policy is robust and up to date, have you communicated it to your staff? Especially your security staff? I have witnessed on so many occasions of staff – even staff allocated to the children’s area – not knowing the event’s policy. We’ve even had arguments with security guards, who have insisted that we must give a child back to a drunk person, just because that person is the parent. Did you know that it is illegal to be drunk and in charge of a child under the age of seven? So, if a member of staff gave the child back and something happened, that would be their responsibility. Our member of staff knew the law, and she stood her ground, despite being badgered by the parent and the security guard.

I want to see the Government get involved and make it law for all events not to just have a policy, but to ensure it is communicated and implemented. In my 30 years of running lost child points at events all over the UK, I have never once been at an event where everyone knew the correct procedure for a lost child.

Not one. That’s an accident just waiting to happen, so don’t let it be at your event.

www.standoutmagazine.co.uk n 51

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PROFILE

TEAM SC PRODUCTIONS

Hard work pays off Working on shows for Kilimanjaro Live, Orchard Live, LarMac Live and AMust4Music, 2022 is going to be busy year for Jake Warriner, SC Productions’ newly promoted company director and production manager. Here, Warriner talks of his passion for events

H

ow long have you been working in the events industry?

I’ve been working in the events industry for about 12 years now. I started working in a local hotel at 16, as a waiter for weddings, conferences, and parties and then two years later, I went full time and was running all the events in the hotel from an operational aspect.

Did you always want to work in events?

No. I originally applied for university to study social work but ended up taking a year out. I started work in the hotel and it made me realise I was really enjoying what I was doing. This led to me applying to study events management in Cardiff.

What led you to working in events and why do you love it so much?

In between my second and third year at university, I undertook an internship, as Sarah’s assistant [Sarah Hemsley-Cole, founder of SC Productions] on an outdoor event in Cardiff called Ar Waith Ar Daith.

It was my first taste of outdoor event work, and I absolutely loved the scale of the work, the broad spectrum of what we were responsible for and the craziness of what was happening around me.

Who and what within the events world inspires you?

I’m very lucky to have been surrounded by many people who have inspired me over the six years I’ve been working at the company. An obvious one for me here is Sarah and the other being

Zac Fox from Kilimanjaro Live [group chief operating officer]. Both have vast amounts of knowledge and experience, have unbelievable workload capacity and are also great mentors that I have been lucky to have from almost my first day at the company and to now.

Tell us more about your promotion. How does it feel to now be a company director?

Ahh, it still hasn’t quite sunk in, but it is a great feeling that the hard work over the past years has paid off.

What are you looking forward to most this year?

I’m really looking forward to hopefully being back to normal with less uncertainty with what may or may not be going ahead over the summer. I’m also looking forward to completing shows that we started working on pre-pandemic.

After years of talking about them, they might actually happen. We hope.

What do you bring to SC Productions?

I’ve now been with the company for six years, so I know the company inside and out. I’m very calm, take everything in my stride and have a good relationship with contractors, clients, and suppliers across all the work that we do. We took the decision to recruit more full-time event assistants in our office at the end of 2021, ready for the upcoming season, so my energy and focus is going into training them, ready to hit the ground running in May. What do you think the biggest challenges will be this year?

Good question. I’d say there’s going to be many challenges this year. I think security is still a huge issue across the country and I also think people in general are going to be a big problem. There are too many events this year for the number of freelancers and crew available. Kit wise seems to a bit steadier than last year but the obvious areas of toilets and marquees will still be an issue.

JAKE WARRINER www.standoutmagazine.co.uk n 53

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VIEWPOINT

The storm Before the calm The events industry is springing back to life, displaying signs of urgent need, changing requirements, and not enough resource. However, as a collective, we refuse to accept defeat. Matt Storey, partner at The White Storey, talks

There’s less competition in the marketplace, so those still standing should be able to reap some of the rewards

A

nyone else been hobbling around on bloodied stumps lately? The commonly held rhetoric has always been that, as a business, if you manage to survive a depression you will emerge much leaner and stronger than before.

Well, we’re still here but frankly I’m not feeling particularly strong. Quite the contrary. I’m still battered and bruised.

Having eagerly prophesied a massive influx of pent-up demand post-COVID, I discovered the reality was massively more complex. As events returned, the supply chain felt the full brunt of insatiable need, coupled with a woefully depleted and beleaguered workforce.

In all honesty, I questioned where I was going to find the energy to get things moving again.

If this sounds like someone who spent their pandemic doing jigsaws from their living room sofa, losing the skills of nimble thinking and rapid response, I should explain that for the last two and half years I’ve handled the sharp end of two businesses. So, it wasn’t a case of being out of condition, but trying to navigate the volume of urgent and constantly mutating

demands. It felt like being tossed around in a cyclone praying that at best, I’d eventually wake up face down on a beach.

When I told people how busy we were, their natural response was: “But what a great position to be in!” And yes.

Absolutely. However, busy is one thing.

Grappling to maintain control is another.

I’d love to say “What have we learned?

How can we improve?” But you can’t!

Would I have done anything differently?

No, we just hung on, month in, month out, making sure we could pay our bills.

The upshot? Well, I’m more belligerent (if that were possible) and I’ve got even less patience (I had very little to start with.) The flip side is that I now make decisions faster and harder than ever before.

As someone who has spent most of their career in business development, there was a period when I found myself in the very uncomfortable position of not selling. I was talking to fewer people: Our universe had expanded in the range of what we did, but there was little point in starting conversations with potential clients if we didn’t have the capacity to service the demand they generated.

Where are we now? Well, I’ve become an expert cash collector – immovable payroll deadlines can make you remarkably assertive in extracting overdue client payments.

And with so many construction projects going on, the event industry’s offering has expanded. There’s less competition in the marketplace, so those still standing should be able to reap some of the rewards.

Remember London 2012? Younger members of the industry laugh at their bosses’ 2012 reminiscences in the same way we’d have rolled our eyes when our grandparents talked about life during “The War”. You can bet that our newly minted Gen Z cohort will soon be boring their successors with tales of the pandemic.

Like its predecessor, our “war” brought whole new networks of people together.

Relationships were forged; we shared skills, contacts, and insights. Yesterday, I looked up the definition of the Dunkirk Spirit and, apparently, it’s a “willingness by a group of people who are in a bad situation to all help each other”.

I’d say that probably sums it up.

www.standoutmagazine.co.uk n 55

GREEN COLUMN

There has been a great deal of positive conversation around the concept of building back greener and better in the past year or so, but there is still a chasm between intentions and taking meaningful action across the industry

Positive steps The events industry fully supports the development of industry-wide green standards for outdoor events. But what’s next? Chris Johnson, chair of Vision: 2025, reveals all

V

ision: 2025 finished 2021 with the launch of an open industry consultation for a ground-breaking industry Green Code of Conduct. The aim of the code is to provide clear, minimum environmental standards for all UK outdoor events. Industry feedback was invited through an online survey, which closed on January 14.

In this consultation, 35 organisations took part; 62 per cent were event organisers, 17 per cent were event suppliers, and 21 per cent were classed as “other”, such as local authorities and environmental organisations working in the live events industry.

All respondents supported the development of the code in principle.

However, 28 per cent commented that something specific needs to be changed on the current draft to get on board.

There has been a great deal of positive conversation around the concept of building back greener and better in the past year or so, but there is still a chasm between intentions and taking meaningful action across the industry.

Right now, the turbulence of the past two years and a necessary focus on recovery has perhaps frustrated what should have been a huge step forward in 2021,

56 n www.standoutmagazine.co.uk

with the impetus provided by COP26.

According to the industry green survey in 2021, events still consider that they have lack of knowledge and confidence about stepping into the space.

But our stakeholders and clients, such as councils and large organisations, are already starting to integrate sustainable accountability, by incorporating it into tendering and contractual delivery. Fifteen per cent of events responding to the industry green survey last year reported that local authorities were requesting information as part of their Safety Advisory Group (SAG) or site permissions. What we need to do, quickly, is develop a common understanding and standards for everyone to work with. This Green Code of Conduct has the potential to make it clear to all parties as to what can be reasonably expected and how it could be achieved.

Specific concerns raised in the consultation feedback include the ability to deliver on the targets due to lack of resources and knowledge within organisations, a need for more clarity and understanding about emission scopes, and a need to better understand the options available to event organisers when tackling travel – the biggest source of emissions.

As authors, we are very aware that we need to create a document which deals with several challenges that have been highlighted about implementing a new code across the industry. There is concern that targets or standards need to account for the reality of whether smaller shows, with less resources, may find it more difficult than more well-resourced organisations, although it should be noted that the code is intended to be voluntary, meaning that every organisation will find its own way toward the shared goals. Many organisations also said that targets need to be bulletproof, and a clear way of reporting is important, so that everyone in the industry understands what to measure and how, and that there is transparency and accountability.

The Vision: 2025 Industry Steering Group, which incorporates trade associations representing the outdoor event sector, is currently reviewing the feedback, which was very detailed and well-presented across the board. The next stage will be to work on incorporating the range of positive suggestions to update the text, and the hope is to launch the new standard in the coming months.

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60 n www.versatilevenues.co.uk

FLAGS

Instant Marquees DD: 01840 219047 | M: 07748 165 827 www.instantmarquees.co.uk FLOORING & FLOOR COVERINGS AMH Imports Ltd. E: coirstroreuk @gmail.com W: www.coirstore.co.uk Event Flooring Solutions Ltd T: 01509 768 252 E: sales@efseurope.co.uk W: www.efseurope.co.uk Gigtent UK Sonas House Button End Harston Cambridge, CB22 7NX E: info@gigtent.co.uk W: www.gigtent.co.uk T: 01223 870935 GT Trax Ltd High Tree Farm House, New Road, Warboys, Cambridgeshire, PE28 2SS T: 01487 823344 E: info@gttrax.co.uk W: www.gttrax.co.uk Twitter: @GTTrax

Ikadan UK Ltd T: +4596606400 E: Ikadan@ikadan.dk FURNITURE HIRE / SALES Casablanca Marquee & Event Hire Unit 1, Kingsbury Works, Kingsbury Road, London, NW9 8UP T: 020 7395 6432 E: eventhire@casablanca hire.com W: www.casablanca hire.com City Furniture Hire Ltd & Funky Furniture Hire West Road, Harlow, CM20 2AL - City Furniture Hire Ltd T: 0845 300 5455 E: info@cfhltd.com W: www.cityfurniture hireltd.com - Funky Furniture Hire Ltd T: 0203 328 5446 E: info@funkyfurniture hire.co.uk W: www.funkyfurniture hire.co.uk Furniture On The Move Unit B, Canada warehouse Chittening industrial estate Worthy road , Avonmouth Bristol, BS110YB T: 0845 459 9875 E: info@furnitureon themove.co.uk W: www.furnitureon themove.co.uk Furniture 4 Events Priors Court Farm, Old Street, Hermitage, Berkshire, RG18 9JT T: 01635 247033 E: sales@furniture4 events.com W: www.furniture4 events.com Picnic Table Hire T: 01249 848050 E: hello@picnictable hire.com W: www.picnictable hire.com GRANDSTAND SEATING Ace Seating Hire T: 01832 273353 E: info@aceseating.co.uk W: www.aceseating.co.uk

CONNECTIONS

Connections are sponsored by HEATING & COOLING SYSTEMS

EMF Technology Ltd Unit 27 Freemantle House, Kingsclere Business Park, Kingsclere, HantsRG20 4SW T: 020 8003 3344 E: info@emf technology.co.uk W: www.emf technology.co.uk

Arcotherm Unit 11, Ecclesbourne Park, Clover Nook Road, Alfreton, Derbyshire, DE55 4RF T: 01773 836 999 E: sales@arcotherm.co.uk W: www.arcotherm.co.uk Cooling and Heating Solutions Ltd T: 01590 681 434 E: sales@candhs.co.uk W: www.coolingand heatingsolutions.com

Lightmedia Displays Mobile & Modular LED Screen Hire T: 0333 600 6000 24 hour response E: sales@lightmedia.co.uk W: www.lightmedia.co.uk

Spica Temperature Control Solutions Ltd 20 Crowsport, Hamble, Hampshire, SO31 4HG T: +44 (0) 2380 453841 M: +44 (0) 7780 638976 E: kay@spicasolutions.com W: www.spica solutions.com

Tech AV Ltd London, Essex, Birmingham T: 0345 257 9969 E: lee@techav.events W: www.techav.events

INSURANCE Arc International St. Clare House, 30-33 Minories, London, EC3N 1PE T: +44 (0)207 977 7637 W: www.apex-ins.co.uk/ arcinternational

YSLV London & York T: 0800 080 3310 E: hire@yslv.co.uk W: www.yslv.co.uk LED TRAFFIC / EVENT MANAGEMENT SIGNS

Tysers Insurance Brokers 71 Fenchurch Street, London, EC3M 4BS T:+44 (0)203 037 8000 E: tim.rudland@tysers.com W: www.tysers.com

Solar Signs UK Ltd Doody’s Yard, Park Road, Haltwhistle, Northumberland, NE49 9LD T: +44 (0)1434 322 359 E: admin@Solar SignsUK.com W: www.solarsignsuk.com

LASER & FX Laser Grafix Unit 4A Stratton Park, Biggleswade, Bedfordshire, SG18 8QS UK office: +44 1767 315948

LIGHTING Illumin8 Contact details: Neil - 07710 700759 or Ian - 07568 430704 E: sales@illumin8 lights.co.uk W: www.illumin8 lights.co.uk

LED SCREENS ADI UK Ltd Pittman Court, Pittman Way, Fulwood, Preston, PR2 9ZG T: +44 (0)1772 708 200 E: info@adi.tv W: www.adi.tv

LOCKERS Mobile Locker UK Ltd Unit 11, Trident Park, Poseidon Way, Warwick, Warwickshire,CV34 6SW T: 01926 671937 E: info@moblielocker.co.uk W: www.mobile locker.co.uk

MARQUEES Alternative Stretch Tents Building 15, Gateway 1000, A1 (M) jct 7, Stevenage, SG1 2FP T: 01920 830256 E: info@alternativestretch.co.uk W: www.alternativestretch-tents.co.uk Casablanca Marquee & Event Hire Unit 1, Kingsbury Works, Kingsbury Road, London, NW9 8UP T: 020 7395 6432 E: eventhire@casablanca hire.com W: www.casablanca hire.com Event-in-a-tent Unit 108, Abby Road South, Wrexham Industrial Estate, LL13 9RF T: 01978 661449 E: info@event-ina-tent.co.uk W: www.event-ina-tent.co.uk Fews Marquees Chessgrove Park, Ditchford Bank Road, Hanbury, Bromsgrove Worcestershire, B60 4HS T: 01527 821789 W: www.fews marquees.co.uk Gigtent UK Sonas House Button End Harston Cambridge, CB22 7NX E: info@gigtent.co.uk W: www.gigtent.co.uk T: 01223 870935

Instant Marquees DD: 01840 219047 | M: 07748 165 827 www.instantmarquees.co.uk Tentickle Stretch Tents UK Ltd Langley Brook Business Park, Unit 3B London Rd, Tamworth, B78 2BP T: +44 121 7401385 M: +44 7826 843099 E: jorg@tenticklestretchtents.co.uk W: www.tenticklestretchtents.co.uk

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CONNECTIONS Top Cat Big Tops Tents & Marquees Ltd The Old Stable Yard, Gasworks Ln, Achynlleth, SY20 8BY T: 01654 700030 E: info@topcatbig tops.co.uk W: www.topcatbig tops.co.uk MEDICAL SERVICES Location Medical Services Ltd The Medical Centre, Shepperton Studios, Studio Road, Shepperton, Middx, TW17 0QD T: 0870 750 9898 E: mail@location medical.com W: www.location medical.com First Aid Cover Ltd 250 York Road Battersea, London SW11 3SJ T: 020 8875 5758 E: enquiries@firstaid cover.co.uk W: www.firstaidcover.co.uk MET Medical Ltd T: 0203 627 9042 E: info@met-medical.co.uk W: www.metmedical.co.uk MODULAR BUILDING SYSTEMS Quickblock Rapid assembly modular building system, enabling anyone to build anything, anywhere.

16 Royal Crescent, Glasgow, G3 7SL W: www.quickblock.uk E: info@quickblock.uk T: 0141 478 0365

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Connections are sponsored by PHOTOGRAPHY Aniseed Event Photography

E: jt@aniseedpr.com W: www.aniseed photo.com

Twitter: @aniseedphoto Instagram: @aniseed eventphotography PLANT HIRE Ace Plant Blackpit Farm, Silverstone Road, Stowe, Buckinghamshire, MK18 5LJ T: 01908 562191 E: info@aceplant.co.uk W: www.aceplant.co.uk Hopkins Machinery T: 01633 680754 E: hire@hopkins machinery.co.uk W: www.hopkins machinery.co.uk PORTABLE BUILDINGS Cube Modular Ltd Saska Ingham Key Accounts – Festivals & Events: E: Saska.ingham@ cubemodular.co.uk T: 07400899257 PORTABLE TOILET HIRE A1 Loo Hire Silver Birches, Highland Avenue, Wokingham, Berkshire, RG41 4SP T: 0118 9894652 E: clive@a1group comp.co.uk W: www.a1group comp.co.uk D&P Luxury Toilets Ltd Coldharbour Cottage Winchbottom Lane, High Wycombe, Bucks, HP10 9QE T: 01494 526 065 E: sales@luxury-toilets.co.uk W: www.luxury-toilets.co.uk

LOOS FOR DOs Ltd GU35 9NZ T: 01420 588 355 E: info@loos.co.uk W: www.loos.co.uk Site Event The Depot, The Avenue, Lasham, Hampshire, GU34 5SU T: 01256 384 134 E: event@site-equip.co.uk W: www.site-equip.co.uk Zoo Events Group Ltd Stockton Dairy, Stockton, Warminster, BA12 OSQ T: 01258 840233 E: info@zooevent sgroup.co.uk W: www.zooevents group.co.uk POWER & GENERATORS ATD Electrical Unit 93, Greenway Business Centre, Greenway, Harlow, Essex, CM19 5QE T: 01279 507890 E: office@atdelectrical.com W: www.atdelectrical.com CB Potts Electrical Rose Cottage, Watergore, South Petherton, Somerset, TA13 5JQ T: 0780 8049034 E: ben.potts@zen.co.uk W: www.cbpotts electrical.co.uk Excell Electrical Event Solutions Fridd Farm, Bethersden, Kent, TN26 3DX T: 01233 822059 E: enquiries@excell electrical.com W: www.excell electrical.com Fourth Generation Ltd 220 Cricklewood Lane, London, NW2 2PU T: 020 8450 2943 M: 07741 052565 E: tweed@fourth generationltd.com W: www.fourth generationltd.com

CONNECTIONS

Connections are sponsored by Gofer Ltd Unit 7 Arkwright Road, Hadleigh Road Ind. Est, Ipswich, Suffolk, IP2 0UB T: 01473 282530 E: info@gofer.co.uk W: www.gofer.co.uk IDE Systems T: 01543 574 111 E: enquiries@ idesystems.co.uk W: www.idesystems.co.uk Head Office & Manufacturing Centre Unit 3, Swaffield Park Hyssop Close, Cannock Staffordshire, WS11 7FU United Kingdom Midlands Rental Depot Unit 1a, Swaffield Park Hyssop Close, Cannock Staffordshire, WS11 7FU United Kingdom South Rental Depot Unit 13, Thurrock Trade Park Oliver Road, Grays Essex, RM20 3AL United Kingdom North East Rental Depot Unit 1, Portobello Trade Park, Portobello Road, Birtley, DH3 2RY, United Kingdom North Rental Depot Unit 8, Shawfield Trade Park Boundary Road, Rutherglen Glasgow, G73 1DB United Kingdom Midas Productions (UK) Ltd Unit 1, Uplandside, Manor Road, Clopton, Suffolk, IP13 6SH T: +44 (0)333 772 0772 M: +44 (0)7949 007 603 E: info@midas-uk.co.uk Newburn Power Rental Limited Unit 36 Lidgate Crescent, Langthwaite Business Park, South Kirkby, Pontefract, WF9 3NR T: 0845 077 6693 E: info@npr-uk.com

Phase Hire Ltd 140A Kents Hill Road, Benfleet, Essex, SS7 5PH T: 01268 792648 E: info@phasehire.com W: www.phasehire.com

DCRS Edison Road, St.Ives, Cambs, PE27 3LH T: 0800 043 2688 E: sales@dcrs.co.uk W: www.dcrs.co.uk

Powerline Knowle Hill Farm, Beeks Lane, Marshfield, Chippenham, Wiltshire, SN14 8BB T: 01225 892336 E: info@thepowerline.co.uk W: www.thepowerline.co.uk

SFL Mobile Radio 6 Woodway Court, Thursby Road, Bromborough, CH62 3PR T: 0151 334 9160 E: sales@sflmobile radio.co.uk W: www.sflmobile radio.co.uk

Stuart Power Ltd Stuart House, Hargham Road, Shropham, Norfolk, NR17 1DT T: 01953 454540 E: enquiries@stuart group.info W: www.stuart group.ltd.uk/power PRINTERS UK Flyers Suite 210, Victory House Somers Road North Portsmouth, Hampshire PO1 1PJ T: 023 9229 3050 E: sales@ukflyers.com W: www.ukflyers.com

REUSABLE CUPS Green Goblet Ltd Unit 1A Walrow Industrial Estate, Commerce Way, Highbridge, TA9 4AG T: 01278 238390 E: info@green-goblet.com W: www.green-goblet.com ROADSHOWS Versatile Venues Creative Mobile Solutions Wireless Hill, South Luffenham, Oakham, Rutland, LE15 8NF T: 01780 720 217 E: info@versatile venues.co.uk W: www.versatile venues.co.uk

PROJECTION EMF Technology LTD Projection Mapping, Water Screens, Flame Effects, Lighting, Mains Distribution T: 020 8003 3344 E: info@emf technology.co.uk W: www.emf technology.co.uk RADIO COMMUNICATIONS 2CL Communications Ltd Unit C, Woodside Trade Centre, Parnham Drive, Eastleigh, Hampshire, SO50 4NU T: 0800 389 2278 E: contact@2cl.co.uk W: www.2cl.co.uk

SECURITY McKenzie Arnold Grove House, Faulkbourne, Essex, CM8 1SH T: 01376 350999 E: martin.jackson@ mckenziearnold.com W: www.mckenzie arnold.com

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CONNECTIONS Newman Event Services Ltd Crowd Management, Festival & Event Security/Stewarding.

Bloxham Mill, Barford Road, Bloxham, Oxfordshire,OX15 4FF T: +441295 722844 E: enquiries@ newmanevents.co.uk W: www.newmanevents. co.uk Provide SESS Ltd The Courtyard, 87 Southampton Street Reading RG1 2QU T: 01189 875949 E: info@providesecurity.com W: www.providesecurity.com Right Guard Security Event Security Consultancy Security & Crowd Management Traffic Management CSAS Traffic Officers T: 01227 464 588 T: 0207 241 5525 E: info@rightguard.co.uk W: www.rightguard.co.uk SET & SCENERY CONSTRUCTION Staged Events Ltd Meadow View, Newnham Lane, Old Basing, Hampshire, RG24 7AU T: 01256578055 E: info@wearestaged.com W: www.stagedevents.com SITE SUPPLIES Concept Products Ltd 10 Cary Court, Somerton Business Park, Somerton, TA11 6SB T: 01458 274020 E: ben@concept productsltd.co.uk W: www.concept productsltd.co.uk

64 n www.versatilevenues.co.uk

Connections are sponsored by STAGING & RIGGING Triple A Events Ltd Unit D4, St Georges Business Park, Castle Road, Sittingbourne, Kent, ME10 3TB T: 0800 7723242 M: 07875492625 W: www.tripleaevents.co.uk Twitter: @tripleaeventsuk Facebook: /tripleaeventsuk STEWARDS / MARSHALLS Road Traffic Solutions 60-64 Oswald Road, Scunthorpe, DN15 7PQ T: 01724 848 246 E: martyn@roadtraffic solutions.com W: www.roadtraffic solutions.com TEMPORARY BRIDGES Mitchell Bridges Limited London Road, Kings Worthy, Winchester, Hampshire, SO23 7QN T: 01962 885040 M: 07768630373 E: chris@mitchell bridges.com W: www.mitchell bridges.com TEMPORARY ROADWAYS Cap Trac Limited The Stables, Loke Farm, Weston Longville, Norwich, NR9 5LG T: 01603 880448 E: info@captrac.co.uk W: www.captrac.co.uk

TEMPORARY STRUCTURES Gigtent UK Sonas House Button End Harston Cambridge, CB22 7NX E: info@gigtent.co.uk W: www.gigtent.co.uk

Low & Bonar Oldham Ltd Hollinwood Business Centre, Albert Street, Oldham, OL8 3QL, U.K. E: info.uk@mehgies.com W: www.mehgies.com NEPTUNUS Ltd Cob Drive, Swan Valley, Northampton NN4 9BB T: +44 1604 593820 E: sales@neptunus.co.uk W: www.neptunus.co.uk Tentickle Stretch Tents UK Ltd Langley Brook Business Park, Unit 3B London Rd, Tamworth, B78 2BP T: +44 121 7401385 M: +44 7826 843099 E: jorg@tenticklestretchtents.co.uk W: www.tenticklestretchtents.co.uk TT Tents Ltd North Waltham Business Centre, Basingstoke, Hampshire, RG25 2DJ T: 01256 397 551 E: sales@tttents.co.uk W: www.tttents.co.uk Worldwide Structures Ltd Ayrshire Farm, Sharcott, Pewsey, SN9 5PA T: + 44 (0) 1672 565 060 / +44 (0) 7875 027369 E: enquiries@w-sl.com W: www.worldwide structures.com TEMPORARY STRUCTURES MANUFACTURERS J & J. Carter Ltd Unit 2, 34 Walworth Road, Walworth Business Park, Andover, Hampshire, SP10 5LH T: 01264 721630 E: sales@jjcarter.com W: www.jjcarter.com

CONNECTIONS

Connections are sponsored by TIPIS Zoo Events Group Ltd Stockton Dairy, Stockton, Warminster, BA12 OSQ T: 01258 840233 E: info@zooevents group.co.uk W: www.zooevents group.co.uk

Stagefreight Evanston Avenue, Leeds LS4 2HR T: 0113 238 0805 / 0113 279 7898 W: www.stagefreight.com VEHICLE HIRE Bradshaw Event Vehicles New Lane, Stibbington,

TRACKWAY

Peterborough, PE8 6LW All Weather Access County Farm, High Roding, Dunmow, Essex CM6 1NQ T: 01371 700510 M: 07801 751137 E: henry@all-weather access.co.uk W: www.all-weather access.co.uk

T: 01780 782621

E: enquiries@event vehicles.co.uk

W: www.event vehicles.co.uk

Twitter: @Bradshaw_EV VENUES The Convention Centre

TRAFFIC MANAGEMENT Exhibition Traffic Management Services Ltd Perton House, Roslin Road, London, W3 8DH T: 0203 567 1479 E: ops@exhibition -traffic.co.uk W: www.exhibition -traffic.co.uk

Dublin (The CCD)

Spencer Dock, North Wall Quay, Dublin 1, Ireland T: 00353 1 856 0000 E: sales@theccd.ie W: www.theccd.ie WASTE MANAGEMENT Grist Environmental

Event Traffic Control Ltd Baldersby Gardens, Ripon Road, Baldersby, Thirsk, North Yorkshire, YO7 4PS T: 08000 246 800 E: info@eventtc.com W: www.eventtc.com Road Traffic Solutions 60-64 Oswald Road, Scunthorpe,DN15 7PQ T: 01724 848 246 E: martyn@roadtraffic solutions.com W: www.roadtraffic solutions.com

Event Services

Head Office, William Road, Devizes, Wiltshire, SN10 3EW T: 01380 735045 E: events@grist

environmental.com W: www.grist

environmental.com WATER & PLUMBING SERVICES

GreensH20 Hire Ltd Hampshire T: 01256 225635 M: 07717846059 E: info@greensh2o.co.uk W: www.greensh2o.co.uk

TRANSPORTATION & LOGISTICS GAC Pindar Medina Chambers, Town Quay, Southampton, SO14 2AQ T: 02380 489924 E: pindar@gac.com W: www.gacpindar.com Twitter: @GACPindar

DRINKING WATER PURE & SIMPLE

MTD (UK & Ireland) Ltd Unit 1 Westerngate, Hillmead Enterprise Park, Langley Road, Swindon, SN5 5WN T: +44 (0)1264 773 818 M: +44 (0)7557 868 909 E: oliver.smith@mtd.net W: www.mtd.net Wicked Event Water Services Kevin: 07909 771996 E: info@wickedevent waterservices.com W: www.wews.biz

WELFARE CABINS Boss Cabins

BCS House, Pinfold Road, Bourne, PE10 9HT T: +44 (0)845 180 1616

E: info@bosscabins.co.uk

W: www.bosscabins.co.uk WIFI, INTERNET & STREAMING Attend2it Unit 8 Park Farm Industrial Estate, Ermine Street, Buntingford, SG9 9AZ T: 01763 877 477 T: 01763 878 086 E: info@attend2it.co.uk W: www.attend2it.co.uk SimpliWifi The Telephone Exchange, 33 Bridge Street, Kington, Herefordshire, HR5 3DW T: 0800 298 9434 E: hello@simpliwifi.co.uk W: simpliwifi.co.uk

Liquiline Ltd Ash Tree House, Tarrant Hinton, Blandford, Dorset, DT11 8JA T: 01258 830324 E: office@liquiline.co.uk W: www.liquiline.co.uk

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NEXT ISSUE

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66 n www.standoutmagazine.co.uk

EYEBROW EYEBROW EYEBROW

01183 805 590 www.StunningTents.co.uk

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“WE ARE A CREATIVE PRODuCTION COMPANY” EYEBROW EYEBROW EYEBROW

Lighting Design : Audio Visual Sound reinforcement : SETS Hybrid : Staging : Power Hire Streaming : Green Screen

Anything technical from:MaNCHESTER READING London AMSTERDAM

0870 042 2602 www.visionsgroup.co.uk 68 n www.standoutmagazine.co.uk