StandOut Magazine June 2022

June 2022

JUBILEE

LOVE SAVES THE DAY

ROYAL ASCOT

HAY

TENDERS

EDITOR’S LETTER

JUNE 2022

I heard that a section of a grandstand had collapsed whilst spectators watched W hen Trooping the Colour in central London, my ears pricked up and I believe I made

an audible “Oh”. Immediately, I knew that the incident would have organisers asking questions of their seating providers. And rightly so. But I was more concerned about the impact of the incident on event management planning and Safety Advisory Groups (SAGs). Just how many SAGs would turn all their attention to grandstand seating and temporary demountable structures? It happens every time an incident occurs. SAGs suddenly focus on one element of an event: the one in the media spotlight, despite there being so many other risks at play.

I have lost count of the numerous conversations I have had with health and safety officers that have expressed their frustration when this happens especially when the UK live event industry’s safety record is one of the best in the world.

Qatar is preparing to host the World Cup, a major sporting event, and many workers have died constructing the event’s permanent facilities. Construction sites have a much worse safety record than live event sites. But because the World Cup is a major event, our reputation is tarnished by association.

The UK events industry is one of the safest. It’s been a delight to don my PPE and explore so many event sites this last month, all displaying best practice and safe build measures. In this issue, we have gone behind the scenes at Royal Ascot, cinch Championships at Queen’s Tennis Club, BBC Radio 1 Big Weekend, and Platinum Party at the Palace. Why? To bring you the latest stories. Events are amazing, but it’s the hard work behind the scenes that we’re interested in.

Without it, there would be no fantastic events to see and experience.

Happy reading, Caroline @StandOutmag

Cover image: © Stufish

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CONTENTS

PARTY AT THE PALACE 15

HAY IS BACK 25

GOOD TIMES IN COVENTRY 38

LESSONS LEARNED 52

10 EVENT TENDERS

Discover the latest event tenders and contract wins

15 PARTY AT THE PALACE

29 ROYAL OCCASION

Royal Ascot’s Jim Allen, Lulu Beasley, and Joanna Wales talk event developments

Thousands of people lined The Mall to celebrate the Queen’s 70th year on the throne. StandOut chatted to those responsible for the Platinum Jubilee celebrations

38 GOOD TIMES IN COVENTRY

22 GAME, SET, MATCH

48 WELLBEING AND WELFARE

25 HAY IS BACK

52 LESSONS LEARNED

Jen Motet, head of event operations at the LTA, walked StandOut through site changes at Cinch Championships at The Queen’s Club Georgie Cooke, production director at Hay Festival, discusses sustainability, supply chain, and support

BBC Radio 1 Big Weekend headed to Coventry – StandOut went behind the scenes This year, Bournemouth 7s marked its 15th anniversary. But it was not the organising team’s only focus in 2022. Staff welfare was key.

Tom Paine, Love Saves the Day’s festival director, reflects on 2022 and year one on a new site

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CONTRIBUTORS

This month’s

CONTRIBUTORS:

LULU BEASLEY

Lulu has more than ten years’ experience working in many different disciplines of the events industry, ranging from invaluable work as a chef to most recently as an event designer and creative.

Having previously worked at Create Food and Party Design, Lulu now works at Ascot Racecourse as an in-house venue experience manager. In this issue, Lulu talks to StandOut about the attention to detail that is needed to deliver Royal Ascot, the most prestigious event in the racing calendar and about some of this year’s challenges.

EXHIBITIONS LTD

06 n www.eventbuyerslive.com

JENNIFER MOTET

Jen is a highly skilled head of events and operations with more than 15 years’ experience leading teams in a range of major multi-stakeholder projects, including the Rugby World Cup 2015 and London 2012 Olympic Games. Before joining the Lawn Tennis Association, Jen worked at Harlequins Rugby Club as head of operations. Her love of ops stands Jen in good stead for her current role as head of event operations. In this June edition of StandOut, Jen talks about event developments at the cinch Championships at The Queen’s Club, including changes to temporary infrastructure.

FRANKIE TEE

A director of EnTEEtainment, Frankie’s specialities lie in technical production, including artist advancing, logistical and operations planning, complete project management and artist liaison. Frankie has vast experience across various festivals, including Glastonbury, Reading Festival, and other picnic-style music events. This month, Frankie discusses BBC Radio 1 Big Weekend and her role in the event as technical production manager.

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INDUSTRY UPDATES PIC OF THE MONTH

Image: © Keaton Chau Photography

APPOINTMENT OF THE MONTH

Avantgarde Group has appointed Dr. Lesley Anne Bleakney as the global brand experience group’s new managing director.

NEWS IN BRIEF

A full-sized replica of the Natural History Museum’s Archie the Squid, Moon-inspired theatrical spaces, and a Moon Convoy comprised Tour de Moon, a touring festival that explored the relationship between the Moon and the Earth. Tour de Moon, one

of Unboxed’s ten special events that are designed to promote science, technology, engineering, mathematics, and the arts, toured the UK through May and June and invited the public to reimagine the way they see the world.

TWEETS OF THE MONTH @angelalive11 Already had someone sharing their production AAA pass for Download on Facebook. Do not post your working pass on social media!

@RobinsonBoone Just a reminder that in 2022, it’s way cooler to buy a ticket to a gig than be on a guest list. Value what you love x

Underneath the Stars achieves 50/50 artist split and all-female headline bill Underneath the Stars festival is leading the march for gender balance at festivals, announcing its final music line-up with a 50/50 artist split including an all-female headline bill, Imelda May (Friday), Kate Rusby (Saturday) and Suzanne Vega (Sunday).

This year, the festival has worked with The F List, a directory of approximately 5,000 UK female/non-binary musicians and bands, to improve the diversity of the festival’s line-up.

Running July 29-31, at Cinderhill Farm, Barnsley, the festival’s ethos has always been to create a gender-balanced music

bill, representing a range of artists from a host of musical styles from ska, Americana, folk, soul to brass bands and indie.

Splendid Events’ Eddie Barcan, Underneath the Stars’ programmer, said: “We do hope one day that an all-female headline bill will be unremarkable and that fairly balanced bills will be the norm.

“Every festival of all sizes and genres plays its part in the eco-system of the music industry and I hope soon the statistics, the campaigning, the female musicians talking about their experiences, and the barriers they have faced will have a positive impact on the diversity of all our festival stages.”

Wembley Stadium has unveiled two multi-purpose sensory rooms within the venue to better accommodate neurodivergent guests and their families.

Vodafone partnered with Music Not Impossible to develop a range of haptic suits that enable Deaf and hard-ofhearing festivalgoers to feel live music through vibrations. The suits, trialled at Mighty Hoopla, have adaptable vibration levels, so music fans can tailor the experience to suit their own level of deafness.

The Security Industry Authority has updated its guidance for events.

Festival Republic has added an extra day to Download Festival 2023 to celebrate the festival’s 20th edition.

Jo Blick and FELVES have produced an updated Glitter Event Management Survey, which calls for glitter to be banned at UK festivals.

Oops. In the May edition of StandOut, we mistakenly referred to Furniture on the Move as Furniture Hire. We apologise for any confusion caused.

Festival Republic researches grid power Festival Republic will work on a new research project with Music Declares Emergency to drive grid connections to UK festivals and begin the transition of the UK outdoor live sector to grid power. Such a transition will ultimately reduce carbon emissions for the sector in relation to temporary power generation. Festival Republic hopes to

present fully renewably powered, gridconnected stages at three events in 2023. The aim is to create a pathway for other promoters and event organisers to follow. Melvin Benn, managing director of Festival Republic has described the project as a game-changer for the outdoor live events industry.

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EVENT TENDERS AND CONTRACTS RHS TATTON PARK © RHS/Neil Hepworth

Time to pitch Discover the latest event tenders and contract wins

Cambridge City Council has issued a tender for security services. The tender has been divided into lots. The authority requires security for Cambridge City events and Cambridge Folk Festival. The deadline for this tender is 12pm on July 18. Interested?

Email amy.kenny@cambridge.gov.uk NEPO is seeking to establish an events management and infrastructure framework. Email carly.ivers@nepo.org – the deadline is 12pm on July 11.

The Royal Horticultural Society (RHS) is working with Electric Wheels to ensure that all utility vehicles it uses on-site at Hampton Court Garden Festival, and Tatton Park Flower Show are zero emission electric vehicles. The RHS will use a variety of electric vehicles from Electric Wheels, including The Nipper

and Worker 4×4 electric utility vehicles, The Runner 4×2 electric utility vehicle, and the UBCO 2×2 electric work bike.

Worcester City Council wishes to appoint an events management company to deliver the authority’s inaugural Environmental Sustainability Summit. The deadline is 12pm on June 24. Email caroline.smith@wychavon.gov.uk Southend Tourism Partnership is looking for large-scale light installations to exhibit at Southend LuminoCity 2023. The deadline is 12pm on July 29. Email culture&tourism@southend.gov.uk Marketing Cheshire wishes to outsource delivery of its Christmas market to an experienced supplier. The deadline is 4pm on July 1.

Email tenders@cheshireandwarrington.com

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EVENT BUYERS LIVE

EBL welcomes Vision(s) Event Buyers Live reveals a new headline sponsor and issues a call for speakers

L

ast month, StandOut magazine exclusively revealed the new location for Event Buyers Live (EBL) 2022.

Well, this month, StandOut Multimedia, the organising team behind the industry event, is delighted to announce even more exciting news. Visions, the creative event production company, is to headline sponsor EBL at Carden Park Hotel and Spa, the luxury country estate near Chester, from November 28-30.

Chris Norman, director of Visions, said of the news: “We have met some incredible people and won new contracts from attending EBL over the last few years.

It’s inspiring to see the volume of business opportunities and the networking around EBL’s pre-qualified meetings.”

He continued: “Last month, Visions reached a milestone, as it celebrated 21 years in business with even greater significance during these COVID times – it stands as a testament to a winning formula for success. When the opportunity came up to be headline sponsor, we signed up straight away. We want to be part of this fantastic industry event and showcase

12 n www.eventbuyerslive.com

ourselves to key industry players. We look forward to being at Carden Park and meeting so many live event organisers.”

The 2022 edition of Event Buyers Live will be the event’s eighth outing and will welcome only 100 of the live event industry’s most respected organisers.

Accompanying the 100 will be just 45 event suppliers and venues for networking and pre-qualified face-to-face meetings.

Neil Fagg, the co-founder of EBL, welcomed Visions on board. He said: “We’re so excited to have Visions as the event’s headline sponsor. The team at Visions is so enthusiastic about Event Buyers Live. We have some exciting plans up our sleeves and talks are underway to deliver a great industry event alongside our partners.”

Event Buyers Live facilitates procurement conversations between events professionals and allows organisers to discuss their event plans with suppliers ahead of 2023. But that’s not all. The event also has a multitude of networking opportunities and boasts a programme of roundtable discussions

that are respected by attendees. The sessions encourage open and honest conversations and provide organisers with an opportunity to discuss issues that impact operations, event management, delivery, and business.

This year, EBL is inviting event professionals with interesting best practice and experience to get in touch.

The organising team is looking for individuals with industry experience to inspire others with their knowledge. If you have a unique perspective or have ideas that you would like to share with your peers, please contact the team. If you think that your expertise could hold the audience’s attention, or host a roundtable on a particular topic, email caroline@ standoutmagazine.co.uk – this is not an opportunity to pitch your company or product, but it’s an opportunity to meaningfully educate and entertain so that guests can get better and become more knowledgeable at what they do.

To register your interest in attending EBL 2022, visit www.eventbuyerslive.com or call 01795 509113.

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Providing Production Management and Event Services to a myriad of Agencies and Clients across the Events Industry The Queen’s Platinum Jubilee Pageant

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The Queen’s Platinum Jubilee Celebrations (HPower/DCMS)

PLATINUM JUBILEE Images: © Stufish/Crown Copyright/Nathan J. Cox / inthebag.pro

Platinum magic Thousands of people lined The Mall to celebrate the Queen’s 70th year on the throne. StandOut chatted to those responsible for the momentous Platinum Jubilee celebrations and a Bank Holiday Weekend that Great Britain will never forget

I

t was a scene reminiscent of 1942 – friends and family gathered around their TV sets to witness a momentous occasion: Except this time, it was in colour and some 70 years have passed.

The epic Platinum Jubilee celebrations surpassed expectations and it was the UK live events industry that delivered a weekend of spectacles that everyone wanted an invitation to. More than 13 million people tuned in to BBC One to watch Queen, Diana Ross, and Sam Ryder, perform outside Buckingham Palace on June 4. The Platinum Party at the Palace was just one of several large-scale celebrations

Sponsored by ADI

produced to celebrate Her Majesty the Queen’s 70 years of service.

Star Live was engaged by both the BBC and Arcadis, a design and consultancy organisation which holds the contract with the Department for Digital, Culture, Media, and Sport (DCMS) to deliver major Royal and State ceremonial events, to supply temporary structures and staging for the Jubilee celebrations. A contract which saw Star Live deliver a turnkey overlay service.

Grahame Muir, CEO of Star Live, explained: “Star Live was approached in late summer 2021 by event designer Stufish, who was pitching to the BBC.

Once Stufish was appointed by the BBC, discussions continued regarding the staging element of the project, which was required to be different to the Diamond Jubilee celebrations in 2012. The site is unusually difficult as the Queen Victoria Monument (QVM) blocks the view of any single stage and so Star Live proposed two fully cantilevered stages that would provide the absolute maximum possible sight lines. Once this was established as the way forward, Star Live’s involvement increased in scope to include most of the structural elements including the grandstand seating.”

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PLATINUM JUBILEE According to Muir, Star Live’s ability to deliver a turnkey solution and provide operational and cost efficiencies on a challenging site with a complex schedule was a determining factor in the company securing the contract with the BBC in early spring 2022. From that point, conversations started with Arcadis. Star Live was then successful in securing a separate contract to deliver the additional elements for Arcadis, including the temporary broadcast studios for the world’s media.

SLEEK AND MODERN

Steve Nolan, director of Chromatic Productions, was engaged by the BBC as event production director. He worked closely with Star Live and Stufish to deliver the stages that would host world stars and performers.

“The stage went through two or three incarnations and what we ended up with was quite different to what we started with,” Nolan explained. “There was a desire to have a stage in front of the palace and around QVM, and to have the palace as a backdrop. It was very tricky to come up with a stage design that would look epic and work beautifully with the palace and not overpower it.”

Nolan, Stufish, and Star Live collaborated. It was decided that the angled facias on the roof truss would be clad, giving the stage a “sleek, modern, and clean” look. “The stage framed the palace,” Nolan added. “We built two different stages – the orchestra stage and the pop stage – and then we had a smaller palace stage between the two, but we couldn’t build it until after Trooping the Colour. We had 1.5 days to put it in and we had to work around nine garden parties and investitures, State Opening of Parliament, Trooping the Colour, and Changing of the Guard.”

Between 10.30am and 12pm each day, Nolan, and his team – including Ollie Brown, site co-ordinator, and Jules Bentley, health and safety, – had to down tools. The build schedule had to be built around all ceremonial duties.

HUGE REQUIREMENTS

The Platinum Jubilee celebrations required a monumental kit list. Star Live was appointed by the BBC to deliver the infrastructure for this event, including circa 7,000 seats in four grandstands, a Royal Box comprised of 180 seats, four assisted viewing platforms, front of house control units, lighting/camera structures, and three bespoke stages – two of which backed onto Buckingham Palace and were designed

by Star Live and Stufish. For Arcadis, Star Live delivered additional structural/scenic elements, including raised load-bearing structures at the rear of two grandstands, 14 temporary media studios created from 22 Viewbox units, a media centre, and power, lighting, and distro.

16 n www.adi.tv

Sponsored by ADI

PLATINUM JUBILEE

The requirement was huge. For example, HM The Queen’s Platinum Jubilee used so much scaffold that it could reach Manchester from London if laid end to end. Furthermore, the project required 20 separate drawings with up to 21 revisions and took up to 90 crew 24 days to build everything. Seventy-two artic trucks delivered kit from Bedford to Buckingham Palace, more than 7,000 square metres of scrim was used, and the stages required 85 tonnes of kentledge. In addition, Nolan registered 2,000 vehicles logged within the project’s vehicle booking system. It was a massive task.

TRICKY BUILD

Given the scale and breadth of the project, a huge team focus was required. Muir, exCEO of Arena Group UK and Europe, oversaw the delivery of the project and worked alongside Roger Barrett, Star

Sponsored by ADI

Live’s technical director, and Andy Grantham, Star Live’s design director. Muir’s previous experience of the Diamond Jubilee celebrations in 2012 [when he worked for Arena Group] prepared him for the Platinum Jubilee project, which was full of challenges. He said: “The Diamond Jubilee in 2012 was a large project, however, the Platinum Jubilee was far more ambitious and much, much bigger. Last time the stage was built around the QVM. This time, we had one stage on QVM plus two superb, fully bespoke stages that straddled the Buckingham Palace fence line.”

Muir added: “It is fair to say this project had more build challenges than most!

To begin with, you’re creating a construction site at one of the world’s most famous landmarks... and extra care and attention had to be paid to every paving stone, every flowerbed, and every flagpole!

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PLATINUM JUBILEE This was then further complicated by the fact that the public needed to access most of the site during the build, not to mention that Buckingham Palace is a functioning household so access to and from the palace had to be maintained at all times.

“Some of the stage builds took place on the grounds of Buckingham Palace itself, and this understandably brought with it an additional layer of complexity in terms of security clearances and accreditation.

And if that wasn’t enough, the build schedule had to allow for the many formal Royal occasions that had to continue such as Changing of the Guard, and multiple rehearsals for other major events such as the Platinum Jubilee Pageant.”

HONOUR AND A PRIVILEGE

According to Muir, the Queen’s Platinum Jubilee is the perfect example of the type of project that Star Live is “uniquely placed” to deliver. Muir continued.

“From event overlay and temporary seating to complex ceremony requirements and bespoke hospitality facilities, our turnkey solutions are regularly deployed around the world at the biggest and highest-profile events. Star Live offer real value on the most technically challenging projects – whether that’s building the infrastructure in front of Buckingham Palace, floating a basketball court down the Thames, or creating the world’s most advanced stage system for the biggest live music events… all of which we’re doing this summer.”

Nolan described the Platinum Party at the Palace project as one of the most intricate builds he has ever done. “The stage design was outstanding,” he continued. “It was a brave design because it was so clean, tidy, and white. We even doubted whether it was going to be fantastic enough but when it was lit, it was beautiful.

“The BBC produced a great variety of acts and a great show that was so slick as it went from stage to stage. We ran the event as a live show with no ‘get out of jail’ videos to link performances and we produced two-and-a-half hours of packed entertainment.

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“I want to say a big thank you to Roger at Star Live for the huge amount of work that he put into pre-production and for the fantastic ideas he came up with for the problems we had to solve.

The project was a huge undertaking for Star, and they delivered the project really well.”

Muir concluded: “It has been a huge honour to work on this event. Against the backdrop of Brexit, COVID, labour shortages and all the other challenges the industry has faced over the last two years, it was a privilege to be a major player in delivering one of (if not the) highestprofile event in 2022. Having said that, the most rewarding part of the project has been seeing the Star Live team pull together – often against the odds and working around the clock – to make sure the BBC’s Platinum Party at the Palace was a once in a lifetime event!”

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ADVERTORIAL

On Her Majesty’s service Pylon One delivered extensive communications and network infrastructure to the Platinum Jubilee celebrations. Read on, and discover how

T

he Platinum Jubilee Pageant commemorated The Queen’s 70year reign and provided an opportunity for the great British public to celebrate the historic milestone.

In early January, The Platinum Jubilee Pageant, the official organising company of the pageant, made initial contact with Pylon One’s partner, Delta Live. They primarily discussed the communications infrastructure needed for stage managers on the pageant’s entire route. As the project started to evolve, it was quickly apparent that Pylon One’s decades of experience and expertise in providing communications solutions, CCTV, and Wi-Fi connectivity at large-scale events, were required to achieve the desired outcomes.

As a result, Platinum Jubilee Pageant directly appointed Pylon One to work on the momentous event.

Arcadis – a design and consultancy organisation which holds the contract with the Department for Digital, Culture, Media, and Sport to deliver major Royal and State ceremonial events – had significant event management and overlay responsibilities.

It oversaw the delivery of key infrastructure across large parts of central London for the Platinum Jubilee weekend.

Arcadis also contacted Pylon One. It needed a safe pair of hands, as the project constantly evolved with new requirements added, almost on a weekly basis! Arcadis’ project manager had worked many times with the Pylon One team on several high-profile events. Arcadis appointed Pylon One; the communications infrastructure and network specialist was now working on two largescale projects that required a level of service infrastructure, far beyond the initial brief.

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Having delivered many large-scale projects, such as COP26 and several New Year’s Eve events in London, Pylon One was ideally placed to leverage its experience, contacts, and knowledge of similar events.

Whilst the two briefs came independent of each other, Pylon One took the approach to combine the two separate elements, and rather than double up on resources, equipment, and materials, it was able to deliver economies of scale to both clients; it built and delivered one robust solution. This culminated in Pylon One exceeding both clients’ expectations in terms of delivery, the associated costs of the projects and delivery.

At the core of the project was a large fibre network complemented by extensive Point

2 Point wireless coverage that powered the operation of essential services, including the Emergency Control Room and the media centre, as well as CCTV to monitor entry and exit points to the pageant, plus all concessions, particularly those selling alcohol to help the organisers meet their licensing obligations.

The team utilised the rooftops of five buildings – including Portland House, Admiralty Arch, and Park Lane Hilton – in key locations to build the microwave Point 2 Point network, ensuring coverage for the various services, including targeted Wi-Fi specified locations, but mainly for CCTV monitoring of entry points and exits.

There was a redundant fibre ring around the perimeter of St James Park and Green Park, that linked all the “on the ground” areas.

One of the challenges the team faced, in providing CCTV cameras in the park area for the concession stands, was meeting the “recognition” element of the Detection, Observation, Recognition and Identification (DORI) Index. On the viewable screen, it was paramount to be able to zoom in and ensure a good facial image could be displayed. Almost 100 cameras were used to enable this to be achieved. Whilst they were all HD full Pan, Tilt and Zoom, they were all “locked down”, enabling remote operation.

Once again, Pylon One leveraged its existing technology capabilities. It used the latest products and technologies. The sheer number of products that left its warehouse, combined with its experience of delivering large-scale public, high-attendance events, ensured the Platinum Jubilee Pageant celebrations had the right level of service befitting Her Majesty and all stakeholders.

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CINCH CHAMPIONSHIPS

In THE Club

JEN MOTET

Jen Motet, head of event operations at the LTA, walked StandOut through site changes at the cinch Championships at The Queen’s Club

J

ennifer Motet, head of event operations at Lawn Tennis Association (LTA), has been in her post for two years but this year was the first time that she got to experience a capacity crowd at The Queen’s Club. In 2021, the cinch Championship at The Queen’s Club operated under Step 3 guidance, which meant that the sporting event could only welcome 25 per cent of its usual audience.

Motet had to identify the facilities needed, relocate some spaces to allow for social distancing, and introduce one-way systems.

Such changes were necessary. However, they enabled the event to go ahead.

Twelve months later and the tennis tournament was a different beast; 10,000 walked through the event’s gates and guests were greeted by new structures and some small site changes. 2021 was a difficult year, but it enabled Motet and her team to review operations and familiarise themselves with a build process that would only get bigger in 2022.

“2021 gave us the option to mix things up from a layout point of view,” Motet

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explained, as she walked StandOut around The Queen’s Club site. “People have been doing things a certain way for quite some time. Last year, we couldn’t use certain areas of the ground for social distancing reasons or because of one-way requirements. It meant we were able to use other spaces in different ways and some of those have stuck.”

In 2019, Neptunus was awarded a five-year contract by the LTA to create a new-look double-deck South Pavilion that was due to make its debut in 2020. This was originally planned for VIP hospitality with public areas for dining and refreshments.

However, due to the challenges thrown up by the pandemic, working closely with the LTA, Neptunus reconfigured the pavilion to incorporate office-style facilities for officials and a special soundproofed area for journalists and broadcasters.

The championships benefited from reconfigurations. COVID made stakeholders more open to changes – some of which have remained. For example, the media were again housed within the South Pavilion.

Motet continued: “People shy away from changes, but things have been much easier this year. In 2021, we only got to build 60 per cent of the structures we needed for 25 per cent of our audience. Yet, it was a good opportunity for our suppliers to familiarise themselves with a different way of working.

“Neptunus builds its structures differently.

The roof goes up first rather than the sides and the electrics and cabling go in at a different time compared to other structural builds. Suppliers got to familiarise themselves with a smaller structure before this year’s bigger build.”

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CINCH CHAMPIONSHIPS

Ben Keast, managing director of Neptunus, commented that some of the changes meant that hospitality guests were closer to the world’s top tennis players. He said: “We were pleased to have provided our flagship Evolution structure on a 10-metre leg to the tournament along with a second floor mezzanine throughout the structure. We also provided a large reception atrium within the structure and a bespoke external angled mezzanine to fit the newly refurbished Queen’s Club site.”

BUILD REVIEW

According to Motet, a “good team of suppliers” went through a rigorous design process to perfect the site design.

For example, the integration of an Arena Seating structure and a Neptunus hospitality structure required both parties to collaborate and work closely together.

The appointment of Neptunus, said Motet, enabled more flexibility.

For instance, the new larger South Pavilion had a larger and more flexible courtyard space and balcony area, and the hospitality reception had a new central location. Thankfully, this year’s tournament benefited from a longer build – a whole two days.

Ongoing redevelopment work at The Queen’s Club meant that Motet and her team – Harriet Jones, senior event

Sponsored by Igloos

manager, James Fox and Alice Hatfield, event managers, and Harriet Dean and Olivia Lacy-Thompson, event coordinators – could access the site earlier. Arena Seating’s seating structure is a “hugely complex build” and Neptunus required five weeks to create the South Pavilion and additional structures so extra time was appreciated.

“This year was Neptunus’ first real test of doing a full build,” Motet continued. “As part of our site agreement with Queen’s Club, we have a build review every four years and it’s this year. We brought in an external consultant to review the build, so we have time-lapse cameras and they have spoken with our suppliers. If there’s a way to shorten the build or be more efficient, we’ll look because it will mean Queen’s Club Members can use the tennis courts for longer, and there’s a financial implication for us. Less time on site equals fewer costs.”

A FULL HOUSE

This year’s build, which began on April 26, benefited from an extra access gate. Whilst the build is complex, the extra gate made the build a little easier and the back-ofhouse compound easier to navigate. Yet, Motet is no stranger to intricate venues and large-scale and revered sporting events. Before joining the LTA, Motet

worked at Harlequins Rugby Club, Rugby World Cup, and America’s Cup. So, with all that experience, what was she looking forward to most about this year’s cinch Championships at The Queen’s Club?

“Crowd movement is something that I have a lot of experience with, so I am excited to see how the crowd at Queen’s moves. In 2021, there were so many spaces in the stands. Seeing that difference between 2,500 people and 10,000 people will be great.”

SUPPLIERS LIST Structures – Neptunus, Arena Structures, and Arena Seating Toilets – Igloos Electrics – ATD Electrical Health and safety – TESS Water/plumbing – WH Turner Furniture – Spaceworks Trackway – Sunbelt Rentals Portable buildings – PW Hire and Wernick Events PA and radios – Radio Links and On-site Comms Hospitality – Keith Prowse and Absolute Taste

www.igloos.co.uk n 23

Event structures that Stand Out from the crowd

2021

2022

Showing the versitality of our Evolution technology by doubling the spectacular hospitality structure at the Queen’s Club for the LTA

NEPTUNUS Ltd | Cob Drive, Swan Valley | Northampton | United Kingdom T (+44) 01604 593820 | sales@neptunus.co.uk | www.neptunus.co.uk ∏ THE NETHERLANDS ∏ BELGIUM ∏ UNITED KINGDOM ∏ GERMANY ∏ FRANCE ∏ POLAND ∏ AUSTRIA

HAY FESTIVAL

Making Hay

Georgie Cooke, production director at Hay Festival, discusses site changes, sustainability, and support

Images: © Hay/Adam Tatton-Reid

Sponsored by GL Events

www.glevents.co.uk n 25

HAY FESTIVAL Hay Festival has not taken place as a physical event since 2019 – how did it feel to be back?

Fresh, exciting, and emotional – it’s three years since audiences have joined us for our spring edition in person. Hay Festival is a community – from the stewards and production teams who make the events happen to the audiences who come in their thousands to enjoy the event – this year, being together again after such a long time, was just the best.

What changes greeted visitors at this year’s event?

A blockbuster programme, a refreshed festival site, and that special feeling of togetherness that we’ve all missed so much.

Hay Festival 2022 combined everything our audience loves about in-person events with all the innovations we made in two years of running digitally.

On the programme, we had some exciting new series and formats, including a strand of events on Women and Power to mark the Queen’s Platinum Jubilee. Our late-night offering was also boosted with world-class music and comedy every evening.

On the site itself, we were back in our Dairy Meadows field but added St Mary’s Church and the renovated Hay Castle in Hayon-Wye centre. We took over the grounds of Hay Castle to create a new festival venue, an open-air theatre space featuring Shakespeare performances throughout the 11 days of the festival. A new layout at the main site also offered spacious dwell areas between events for people to relax in and even more to explore, including a new Festival Marquee with free events from the BBC. Your last event was in 2019.

What did you learn that year?

Operationally, we were happy with how things ran in 2019, the site worked well, and we were bursting at the seams/hedges.

This year, not knowing how people would be feeling postCOVID, we made several changes to open things up and make the site more spacious. For the first time, we had separate entrances and exits to reduce congestion, while separating our main venues across the site. We also created a new family garden space and made the food court open air.

We also introduced a new layout

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Sponsored by GL Events

HAY FESTIVAL

This year, not knowing how people would be feeling postCOVID, we made several changes to open things up and make the site more spacious

in the artist areas, creating an area where the green room, artist restaurant and artist garden area are all in their own section.

How did you find the supply chain this year? Which contractors did you appoint to work on Hay Festival 2022?

Costs for most things increased.

Many of our usual contractors, we worked with again. We try and use local contractors as much as we can and, in many ways, it helps being located as rurally as we are. Many contractors have stayed loyal and worked with us to keep their prices down.

Our main marquee and seating contractor is GL events UK, power is provided by Figure of Eight, Stage Sound Services provide AV, and we work with JR Event Services on event safety.

Hay Festival has always been big on sustainability. What measures did you implement in 2022?

Sustainability is core to Hay Festival, both on stage and in the development of the festival as an organisation. As well as doing all our usual strands of mitigation work, from limiting waste to using green energy, this year we worked with Pedicargo in Hereford, which took food waste from the site and used their aerobic thermophilic digester, which can make fertiliser in 24 hours. They also took our glass waste and imploded it to create an aggregate.

Who helped you to deliver Hay Festival 2022?

We’re lucky to work with so, so many wonderful colleagues in doing what we do, but particularly on the production side I’d like to give a shout out to our site manager Fred Wright, production managers Liesel Townley and Ceri Elms, technical director Llyr Jones, crew chief Matt Harding, chief carpenter Paul Colman, Spic n’ Span’s Caroline Lloyd and our protection and security team led by Chris Booten. Hay Festival doesn’t just take a village though, it takes a whole town – the residents of Hay-on-Wye are so supportive every year too!

What stood out about Hay Festival 2022?

Our audience of Haymakers! They are the stars of this year’s event.

After three years apart, it was amazing to welcome them to our green fields!

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www.glevents.co.uk n 27

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ROYAL ASCOT

Getting the inside track

Royal Ascot’s Jim Allen, Lulu Beasley, and Joanna Wales talk event developments

© Royal Ascot/Getty Images/Nicole Hains/Stephanie O’Callaghan

J

ust 12,000 people cheered on Joe Fanning riding Subjectivist, as he won the Gold Cup at Royal Ascot 2021. The cheers were loud and intense. This year, Kyprios won the prestigious trophy. But there were a few more people in the crowd; more than 45,000 people watched Ryan Moore’s triumph at the Berkshire venue.

In 2021, Royal Ascot was an official pilot in the Government’s Events Research Programme. Capacity was greatly reduced, and the site layout completely changed.

Such changes were forced.

Jump forward 12 months and there are more site changes.

Yet, Royal Ascot is not turning back the clock. Lessons were learned in 2021 and as a result, crowd capacities have been reduced. Yet why?

Felicity Barnard, commercial director at Ascot, explained: “A key message in the feedback from the 2021 Royal Meeting, when attendance was limited to 12,000 per day as part of the Government’s Events Research Programme, was that people really appreciated the benefit of additional space. This set us

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on a journey to look at how we could reduce density to improve comfort across the site going forward in a ‘normal’ scenario.

Incorporating feedback from previous years and other race days, it became clear to us that we needed to make a fundamental change in terms of the capacities across the site.”

The pilot gave Ascot the opportunity to stop, regroup, and think about what the venue wanted to deliver long-term.

Joanna Wales, head of venue operations at Ascot Racecourse, confirmed that the venue’s decision to reduce capacities at Royal Ascot and improve the customer experience was taken after the pilot event.

For 2022, capacity numbers were reduced across the Royal Enclosure, Queen Anne Enclosure, and Windsor Enclosure for all five days of the Royal Meeting. In the Royal Enclosure, capacity each day was reduced by 1,000 people while the Royal Enclosure Gardens were extended, creating a new area for circulation next to the track.

Capacities for the Queen Anne and Windsor Enclosures were

LULU BEASLEY AND JIM ALLEN reduced by 4,150 and 2,000 respectively. And finally, The Village Enclosure, located on the heath in the middle of the course, was developed to enable a larger crowd.

ATTENTION TO DETAIL

Royal Ascot’s Jim Allen, event build manager, and Lulu Beasley, in-house venue experience manager, oversaw the extensive build and event developments, which included new venues, the appointment of new contractors, and the creation of facilities that appealed to influencers and Instagrammers.

Beasley explained: “Lots of changes the business has made have come from 2021. We wanted to offer customers more space, and beautiful spaces to sit, and that has been inspired by a reduction in capacity.”

In fact, Allen said that 90 per cent of the structures used at Royal Ascot have had a change to them or in them.

Allen commented: “During the design phase, we paid a lot more attention to detail to all the implications the new structures had in relation to existing structures or infrastructure.”

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ROYAL ASCOT For example, The Village Enclosure is now “more joined up”. Previously, there were two parts to the enclosure. Joining them up made “more of a connected experience” but the development had an impact on the build.

Now, the main structure sits in a field that has a two-metre drop on one side. The addition of a scaffold platform meant a longer build.

Allen continued: “We have had to pay a lot more attention to detail. For example, how do we make the plumbing work in that area?

What about access to kitchens that are now on a two-metre platform?”

Dan Waite, CAD technician, is the “master of the drawings and the policeman of the plans”, said Allen. His knowledge of the site is described as “incredible”.

This is invaluable, as Royal Ascot’s Royal Enclosure featured two new double-deck hospitality structures, an Orangery, and an enhanced Lavender Courtyard. Plus, the structures along the venue’s home straight experienced changes too.

Beasley explained: “The structures on the home straight – The Garden Club, The Furlong Club, and The Gallery – have been the same for six years. They sell well but we noticed a gap in the market for a younger Queen Anne Enclosure member, who wanted to do something cool and different and go somewhere that felt a bit more exclusive.”

Allen and Beasley worked together closely to create new hospitality offers – both fine dining and more relaxed street food options. These enclosures featured “different structures” that are more suited to the look and feel that Royal Ascot wants to achieve.

NINETEEN REASONS

According to Allen, communicating the reasons for the site changes has been important. Not everyone attending Royal Ascot goes for the racing. Beasley continued: “A lot of people don’t come for the racing. They come for the experience and the pageantry, and the racing is a bonus. But a lot of what we build is based around ‘Can you see the track?’ and ‘How does this impact on racing?’ so we’ve incorporated more big screens, which enables our guests to see the racing action from across the site.”

Allen and Beasley gave themselves slightly longer to build the new structures. It’s indicative of the current marketplace. “It’s hard because the pace at which people work is slightly different now,” commented Beasley. “In the old days, you’d fire off an email to a supplier and they’d almost come back straight away. Now, the person doesn’t work there anymore, and you must forge a new relationship with someone else.”

Allen concurred. The event’s build and operations team have had to be more agile and anticipate more issues. Costs have increased and a total of 19 different reasons have been given for equipment not being available, or late.

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Beasley explained: “We were told last month that the carpet we ordered six months ago, the manufacturer was not going to make that colour. We were given two colours to choose from. It’s been hard, as you design spaces around one thing and you’re presented with two colours and you think: ‘I don’t want it, it’s not going to look nice’. So, our contractors have bent over backwards to help us out even though they haven’t been able to guarantee materials.”

Wales stated that it would have been easier to revert to old site plans from 2019.

But that is not Royal Ascot’s style. Already, plans are being made for 2023. Wales concluded: “How do you eat an elephant?

In small bites, so each year we tackle a small thing to make it just a little bit better.”

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WI-FI AND COMMS

Making waves Event Wi-Fi and comms experts offer essential comms advice and discuss market trends, new products, and best practice

500,000 Liverpool Football W hen Club (LFC) fans lined the streets of

Liverpool to watch LFC parade through the city on an open-top bus, Culture Liverpool – in charge of delivering Liverpool City Council’s events – knew that good comms were vital. Roadphone NRB, Symphotech, and Event Design worked alongside Culture Liverpool’s city events managers, Susan Lees and Andy McNichol, to deliver a safe celebratory event.

Matt Bostock, operations manager at Roadphone NRB, said that the end-of-season parade stood out. He explained: “From a two-way radio perspective, it presented a few challenges. We needed to provide enough repeater sites to cover the 13.5km route, along with an off-site control room, radios and audio accessories that worked effectively in a high-noise environment.”

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Roadphone NRB used the radio network to provide GPS tracking and a voice-of-God PA solution. But it was not the company’s only link with LFC. Roadphone NRB also provided radio comms to the UEFA Champions League Final in Paris, a match LFC lost.

This summer, Bostock and his team are pleased to be returning to the IRONMAN triathlon series, American Express presents BST, Kendal Calling, Great Yorkshire Show, and Lytham Festival 2022. Yet, he warned that COVID has had a significant impact on event delivery, planning, and organisation. He said: “Some events have introduced new organisation teams or have outsourced production management, which has presented new opportunities with events looking to change the way they do things

and introduce new suppliers. We’re often finding that customers are confirming their orders much later than they would do pre-pandemic, and that can create some challenges for us – procuring frequencies from OFCOM, securing equipment, and arranging the logistics of delivery.”

However, Bostock argued that event organisers have used the last couple of years to reflect on how they deliver their events. Some have concluded that the quality and performance of their radio communications is something that they wish to improve. Therefore, organisers are seeking advice on how they can make comms more resilient, improve coverage and integrate new technologies such as LTE and 4G handsets, which offer improved resilience and greater scalability.

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WI-FI AND COMMS ESSENTIAL INFRASTRUCTURE

Pylon One has invested heavily in the latest networking technology to be able to provide even better service to clients as “good Wi-Fi” moves from being a nice-tohave to essential to event operations.

Pylon One recently provided the Platinum Jubilee Pageant and AJ Bell 2022 World Triathlon Championship Series Leeds with services. Furthermore, the company was responsible for delivering the IT, Internet, and connectivity across COP26 in Glasgow.

Mike Lang, sales and marketing director at Pylon One, said of the current marketplace: “The events industry has come flooding back to life with a lot of pent-up demand from clients to get back to live both with the rescheduled events they missed and new events to bring people together. This is not to say that virtual has gone away but rather it has moved sideways to accompany a live event rather than being the event. For Pylon One, we are not only seeing events return after a couple of years’ break, such as Mobile World Congress, but the requests to support streaming on events we were previously not involved in have increased markedly.”

BETTER EXPERIENCE

LFC VICTORY PARADE

© Jason Roberts

PYLON ONE IN ACTION Sponsored by attend2IT

Bostock advised organisers to do their homework before choosing a Wi-Fi and comms supplier. He continued: “There’s so much more to two-way radios than the device you hold in your hand, so please, do your homework before choosing a supplier.

Has your radio provider got experience in delivering comms for similar events, and do they have the technical expertise to make sure your radios keep working during the moments that really matter? Do they hold enough stock of the latest radios and accessories to supply your event in full, or are they relying on cross-hire, which could be challenging in the current supply chain climate? Is your supplier willing to work with you to improve the quality of your event communications?”

Matthew Irving, director of Event-IP, concurred and advised: “Don’t go cheap.

Doing it properly is not easy, especially with thousands of users. Anyone telling you they can do it with 4G or 5G is wrong and it will be a disaster, guaranteed.”

Lang agreed and said that the most important advice would be to involve comms and network experts as early as possible in the event planning process.

“This allows for proper integration into the event rather than just being an afterthought,” he added. “With so many other elements and disciplines, such as AV and Sound, now dependent on networking and IP to run their systems, it’s not just the Wi-Fi you have to think about. Having a single integrated solution that covers all this connectivity is not only more efficient but also delivers a better experience for the client and the audience.”

www.attend2it.co.uk n 33

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34 n www.eventbuyerslive.com

EVENT PRODUCTION SAM RYDER

© Eurovision/EBU/Corinne Cumming

Time to shine

The Eurovision Song Contest and the Queen’s Platinum Jubilee celebrations showcased some great examples of event production.

Read on, and discover best practices, trends, and more than 8.8 million M ore people in the UK

watched the Grand Final of the 66th Eurovision Song Contest (ESC) – an increase of 20 per cent on 2021 – and witnessed the United Kingdom’s Sam Ryder take second place in the competition. In fact, the UK delivered the largest audience of 34 measured markets.

It’s demonstrative of the Eurovision fever that gripped the UK in the days leading up to the event at Turin’s PalaOlimpico.

RAI RadioTelevisione Italiana, as host broadcaster, took the lead in setting up the stage, which this year revolved around “The Sun Within” designed by Francesca Montinaro, an ambitious new stage concept based on the light of a kinetic sun. The multilevel stage set-up was complemented by waterfalls, large LED video walls and an array of lights.

THIRST FOR DIGITAL

EUROVISION

© Ateliermontinaro

Claypaky provided more than 400 lighting units, including profile spotlights, hybrid fixtures, beam moving lights, washlights, and strobes. But particularly prominent were Claypaky’s new Sharpy X Frame hybrid lights, which flanked the two side catwalks that led from the upper stage down to the stage below.

Calvini Light Equipment Service, Sound D-Light Entertainment and Communication, Shure, Rollstar, and Agorà Srl worked on the event whilst Black Skull Creative, Mandylights, Setstage, Light Initiative, and Jamie Shiels CGI played key roles in Ryder’s performance – a first-class example of event production tech and creativity.

TikTok was ESC’s Official Entertainment Partner in 2022 and streamed three live shows.

The platform saw a total of 189 million video views on the official Eurovision account during the two weeks leading up to the Grand Final. A further 3.3 million unique viewers watched the Grand Final live on the platform with 5.1 live streams in total.

In the same week, 42.3 million unique viewers across 232 countries and territories watched content on ESC’s official YouTube channel.

Chris Norman, director of Visions, the creative event production company, says that whilst live events have bounced back, there is a continued thirst for digital engagement for in-person events. As a result, event organisers are looking at creative ways for social connection and engagement. In fact, increased use of technology and remote participation are key trends for organisers.

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EVENT PRODUCTION CT IN ACTION

CONTENT BY NORTHHOUSE CREATIVE

Visions is providing services to RHS Hampton Court Flower Show and FT Festival this summer and recently won contracts with Prime Video and CogX Festival. Norman said: “Visions has expanded the business and restructured its team, which comes at a pivotal time for the industry, with event organisers needing a stronger and more consistent level of support than ever before to assist with the high expectation and ability for event delivery.”

HIGH-PROFILE PRODUCTION

When it comes to event production and delivery, expectations are indeed high. But none more so than

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for the Queen’s Platinum Jubilee celebrations. Creative Technology (CT) provided technical delivery of the Buckingham Palace projection and main stage LED screens for the BBC’s Platinum Party at the Palace celebration.

To seamlessly deliver such a large-scale and high-profile event, Creative Technology assembled some of the industry’s most skilled engineers to display the content which was designed and created by NorthHouse Creative across Buckingham Palace using 32 high brightness projectors.

During the show, an array of pictures created a backdrop

EUROVISION

© Ateliermontinaro

that not only told a story but brought the building to life for both the in-person audience and the 12 million viewers watching at home.

Working to Stufish’s stage design, CT supplied 209 square metres of LED screen to all three stages displaying content by NorthHouse Creative with live camera feeds – giving the audience a great view of the performances throughout the night.

In addition to Platinum Party at the Palace, the LED screens were also used in the leadup to the event for Trooping the Colour, the service of Thanksgiving at St Paul’s, and the Platinum Jubilee Pageant.

As part of Creative Technology’s conneCT initiative to share knowledge and bring new talent into the industry, the company took this unique opportunity to involve several of their own trainee technicians in the project. Paul Seeger, project manager at Creative Technology commented: “It was great to be able to involve some of our newer technicians in this project, giving them hands-on experience during the installation of this once-in-a-lifetime event. Not only did this give us the extra support we needed getting everything up and running but it also gave the team valuable training they need to be able to deliver such a highprofile job in the future.”

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BBC RADIO 1 BIG WEEKEND

One Big gig BBC Radio 1 Big Weekend headed to Coventry – StandOut went behind the scenes

Images: © Brown Fox Comms/BBC/Sarah Jeynes/Jamie Simonds/Amy Heycock

G

eorge Ezra, Calvin Harris, Ed Sheeran, and Harry Styles were just some of the big-name artists to play BBC Radio 1 Big Weekend [May 27-29] when the large-scale music event took over Coventry’s Wall Memorial Park.

It was the first time that the event had taken place since 2019. In 2021, the radio station produced a Big Weekend of Live Music; five intimate performances filmed on location in front of iconic backdrops around the UK. This year, BBC Radio 1 Big Weekend returned to a field and worked closely with Coventry City Council to host the largescale event and boost the local economy.

Tara Auty, live events project manager at BBC Radio, led the project, which welcomed 88,000 over three days. “It’s incredible to be back,” Auty explained on-site. “There’s an amazing team,

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we have a unique partnership with the council and there’s been a real collaborative approach across all teams to pull an event like this together.

“It’s been three years since we have had a Big Weekend in a field so to just get everyone together has been the best feeling ever.”

Coventry City Council’s Jon Hogan (city events manager) and Danny Greene (events production manager) have worked closely with Auty, Festival Republic, and EnTEEtainment’s Dick Tee and Frankie Tee – in charge of tech production – to deliver the renowned music event.

“I am familiar with the site,” Auty continued. “When BBC Radio produced The Biggest Weekend in 2018, I led the Coventry site. Back then, the event took place in one field but for 2022, we have expanded, and the footprint is a lot bigger.”

FACILITATING PRODUCTION

One-hundred artists performed at BBC Radio 1 Big Weekend; the most artists ever to perform at a Big Weekend event.

As well as the main stage, the event featured a new Radio 1 Dance Stage and Radio 1 Relax Tent. What impact did this have on production? “It’s been OK,” Auty confirmed. “We have amazing relationships with artists, with Frankie and the production team. There’s also been much more collaboration compared to other years. This event has always had huge headliners and they have big productions – we always try and get as much of that on to the stage as we possibly can and facilitate as much as possible.”

Serious Stages supplied the event with a 25-metre Space Roof Main Stage, which was adapted with larger side sheds and below-stage storage to provide space

BBC RADIO 1 BIG WEEKEND

FRANKIE TEE AND TARA AUTY

for a fast-moving show with quick artist changeovers. It also featured extended goalposts carrying square LED screens, which created a 50-metre frontage, giving spectacular views for the live fans and great shots for the broadcast teams.

The Serious team – project managed by Abbey Thomas – also installed frontof-house towers/platforms, broadcast camera platforms, assisted viewing platforms, and speaker delay towers along with the Future Sounds and BBC Introducing stages.

EnTEEtainment’s Frankie Tee, the event’s technical production manager, explained further: “From a production perspective, our brief has always been to accommodate as much as we physically can. We only ever say ‘No’ to something someone wants to do if it is going to be physically impossible or cause too many issues and there’s a risk of it jeopardising the rest of the show and other people’s performances. But where it has been so many years since we have had a Big Weekend in this format, we wanted to come back with a bang.

“We’ve probably accommodated more this year than we have in the past because we understand how important it is for artists and Radio 1.”

Tee continued: “Traditionally, we’ve never accommodated any flown rigs.

Festival headliners will change the flown set up but for a show like this, we can’t do that. However, Calvin Harris, our Saturday night headliner, approached us and had a unique design. We liked the look of it and worked hard with Harris’ team so that we could bring the production in.

So, we’ve done more than normal but it’s the biggest crowd and we wanted to give them the best show they’ve seen.”

Auty and Thomas concurred. But what stood out about Radio 1 Big Weekend 2022? Auty concluded: “Having 40,000 people in a field after so long, seeing everyone’s faces and having the best time. Everyone has been so excited to be back and there has been nothing but complete joy from people who enjoy what they do.”

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CONCERTS AND TOURING

Mamma Mia!

Big-name artists are back out on tour and concert bookings have gone up. StandOut looks at the concert and touring market, including new guidance, new measures, and new shows

ABBA ARENA

Images© Dave J Hogan/Getty Images/ES Global/Tristop Media

I

n May, the Government confirmed that it would introduce a new dual registration scheme, enabling event hauliers to drive their vehicles in the UK and abroad.

The new measures – to be introduced in late summer – will mean drivers with an established base in Great Britain and another country outside of the UK will be able to transfer their vehicle between both operator licences without the need to change vehicles, have their journeys limited, or pay Vehicle Excise Duty in Great Britain.

The announcement was welcomed by industry professionals, as it means British talent can tour more freely. Since the UK departed from the EU, British specialist hauliers have been limited to visiting just three EU stops per tour. However, under the new legislation, companies can make use of the internal movements permitted within each territory. This opportunity applies not just to the EU, but also to other countries, opening

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STRONG MARKET

our doors to cultural exchange from all over the world.

LIVE, the live music and events association, worked alongside the Government to bring about the changes, and it’s not the only win recently impacting the touring market.

UK artists and their crews will no longer need visas to tour in Greece.

The move, which is subject to review at the end of the

year, represents a considerable boost for the UK’s live music sector which has seen European touring become more expensive and more arduous because of Brexit.

Jon Collins, CEO of LIVE, described the news as a huge victory for both artists and fans, representing a further step towards the frictionless touring ecosystem needed by the live music sector.

CTS Eventim, the ticketing services and live entertainment provider, recently posted strong results for Q1, 2022.

Klaus-Peter Schulenberg, CEO of CTS Eventim, said that concert and festival venues were finally coming back to life and the company’s strong start to 2022 is indicative that live entertainment will make a robust comeback this year.

These figures are backed further by Live Nation’s Q1 results, which revealed that the company is on track for double-digit fan growth in 2022, compared to 2019. More than 70 million tickets have been sold for 2022 concerts and in April, concert bookings were up 44 per cent, again compared to 2019.

Artists such as Coldplay, Harry Styles, Ed Sheeran, The Killers, and ABBA continue to sell out and make headlines.

Ed Sheeran is currently touring the UK with his Mathematics tour, an in-theround production technically engineered by Wonder Works.

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CONCERTS AND TOURING ES GLOBAL BUILT ABBA ARENA

Sheeran’s intimate 360-degree stage set-up consists of a central revolve stage surrounded by six 30-metre-high masts.

Made from 7.5 tonnes of truss, the masts support a complex cable net system that enables 55 tonnes of kit to be suspended above the stage, including PA, lighting, and the hero halo. This pioneering set-up eliminates the need for a standard roof system resulting in vastly improved sight lines for fans.

Much like U2’s award-winning 2009 stage, The Claw, which was transported to 30 countries around the globe for the band’s iconic 360° tour, Sheeran’s pioneering cable net stage takes just four days to build on each site. This is in stark comparison to the new ABBA Arena, which has been built as a demountable, tourable structure by ES Global and can be relocated to another site at the end of its five-year tenure in East London.

INSIDE ABBA ARENA

SETTING THE STANDARD

Stufish Entertainment Architects has designed the ABBA Arena – a 3,000-capacity, column-free arena that is home to ABBA’s virtual concert ABBA Voyage, which features digital versions of ABBA performing their greatest hits, backed by a ten-piece live band.

As well as the architect for the venue, Stufish Entertainment Architects was also commissioned as the stage designer for the ABBA Voyage show.

Ray Winkler, CEO of Stufish Entertainment Architects, said that the tourable venue sets the standard for future shows where the physical and the digital fuse to create a new genre of experience in the physical world.

Pudding Mill Lane was identified as the suitable location for the new venue, due to its closeness to nearby cultural hubs, Olympic Park and neighbouring Hackney and Stratford. Before construction, the site was vacant and occasionally used

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for temporary event parking. As part of its sustainable environmental agenda, its proximity to public transport links made Pudding Mill a desirable choice and once opened, Crossrail will allow even more options for visitors to reach the venue by public transport. The transport assessment indicates that 83 per cent of visitors will travel to the arena using public transport. This is hugely important, as travel has the largest carbon impact.

SUSTAINABLE TOURING

ecolibrium recently launched a Sustainable Travel Guide for Artists and the Music Industry that provides up-to-date information, best practice tips and inspiration to empower the live music industry to understand and take action on its greatest carbon impact: Travel.

Co-authored by environmental consultants Liz Warwick and Chris

Johnson, part of the Vision 2025 climate action steering group for live events, the guide features advice for production teams, travel bookers, and tour management, who are looking to implement climate impact strategies.

As well as advice on measuring and reducing travel impacts, the guide offers information on carbon-balancing for unavoidable tour travel emissions.

Naomi Lawson, project manager at ecolibrium, commented: “Artists have a unique opportunity to raise awareness on these issues and advocate for more sustainable travel and transport at their shows – to help radically reduce the negative environmental impacts of live music and events, disrupt business as usual, and bring audiences on the journey to help maintain a liveable, healthy planet for generations to come.”

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CREW

GALLOWGLASS

In demand

Event crew specialists discuss current trends, pay rates, and how they are working hard to attract new talent into the sector

I

n April, the NEC Group and Crewsaders, the event crewing company, delivered a short four-day programme, designed to encourage young people into the events industry. The Get into Events course, hosted by The Prince’s Trust, equipped young people with new skills and experience; some even had the opportunity to undertake job placements with Crewsaders.

The ambition of the short programme was to deliver key insight and training into the practical aspects of event crewing.

At the time, Calum McConnachie, operations director at Crewsaders, highlighted how once the pandemic hit, the events industry lost a lot of experienced staff, and as a result, something now needs to be done to address the current imbalance of work to workers. There needs to be a real focus on attracting talent.

Gallowglass is currently working with the NEKO Trust under the Future Crew initiative. The organisations have joined forces to develop the next generation of live event production professionals and are providing free training and paid work experience and employment pathways.

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Antony Cook, business development manager at Gallowglass, explained: “Ultimately, as an industry, we need to value the people doing the job just as much as the job they’re doing and need to show more respect for all those whose work is vital to make events happen. If we can show the next generation that there is an interesting career path through crewing that can lead to work in TV, film, production, AV, sound, etc. this can only be a positive thing.”

Similarly, Site and Stage has been looking at ways to develop the next generation of events crew too. Dan Wilson, operations director at Site and Stage, concurred with McConnachie. The crewing industry missed out on two years of on-the-job training.

Hence, there is a real skills gap. Site and Stage turned to the Government’s Kickstart Scheme, which provided funding to employers to create jobs for 16 to 24-yearolds on Universal Credit. The scheme ended in December 2021, but Site and Stage employed two new members of staff through it and has since had another 40 applicants approach the company, all keen to join the event’s industry.

SITE AND STAGE AT WORK RATES OF PAY

According to Cook, Gallowglass has had to increase rates of pay to entice people to join or re-join the sector and is currently paying top rates.

Site and Stage is paying top rates too and has been actively recruiting new crew since January – it is in a “comfortable position” for the work it currently has on the books. Wilson explained: “We have

www.rodeocrew.uk n 45

CREW

GALLOWGLASS IN ACTION needed to be dynamic in pay and chargeout rates, so going from a flat day rate across the season for crew to an hourly rate based on skills/client requirements.

For example, forklift drivers’ pay has risen from around £120 a day pre-pandemic to £15 per hour +. We have also increased our per diems rate for the first time in eight years to cover the cost of living hike and we have offered six-month fixed-term contracts to some of our core crew.”

This year, Site and Stage will be providing crew to American Express presents BST, Boomtown, the upcoming Michael Bublé tour, and Bloodstock, whilst Gallowglass is working on London Marathon, Goodwood Festival of Speed, Wireless, Reading, and Glastonbury – the company’s 12th year of building the fortress fence at Worthy Farm.

Wilson said that the events market has come back with a vengeance. All the big players are being robust with their crew calls and extra demands for kit.

Cook commented: “In the not-toodistant past, with a surfeit of crewing companies and an abundance of crew to call upon, the crewing aspect was often the last thing to be booked. Even from within, the perception was that we were always at the bottom of the supply chain.

Not any longer – this is not being boastful or anarchic but highlighting the shift in the supply chain dynamic. No longer an afterthought but now a forethought.

46 n www.rodeocrew.uk

SITE AND STAGE “We find ourselves talking more and more to clients about what they are doing not a week or month in advance but three or sometimes six months. In the past, this was something unheard of. We will be doing our best to get more of these conversations going.”

BOOK EARLY

Cook said that because of the nature of the events sector at present, Gallowglass is finding that clients are more flexible with their event requirements/timings. The company has managed to secure several prestigious TV and film contracts but due to non-disclosure agreements, it cannot talk about them. And, Gallowglass is confirmed to work with Cirque du Soleil when it returns to the Royal Albert Hall in 2023.

Cook continued: “Like many, as a company, we have spent the last 12 months or so reflecting, restructuring, developing and finally rebuilding our business. We are extremely busy and turning away a huge amount of work.

Clients that would traditionally use one of our competitors are coming to us.

We believe this is possibly due to them focusing on large projects, such as the Commonwealth Games, etc. and as a result, maybe not being able to supply their bread and butter clients.”

But what advice would Cook give to organisers this year? He concluded: “This one is simple: Don’t assume there will be crew available – book crew very, very early for your event!”

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BOURNEMOUTH 7S

Time to tackle welfare It’s vital to look after your staff. Craig Mathie, managing director of Bournemouth 7s, talks about the festival’s decision to increase staff welfare facilities at this year’s event

How did Bournemouth 7s 2022 go and how did it compare to last year?

We were absolutely delighted with how the 15th Bournemouth 7s Festival came together this year. The team had a fair bit more certainty, particularly in relation to COVID, and this allowed us to really hone our offering and improve our proposition for sports people and festivalgoers alike. I was absolutely delighted with how incredible the site looked this year and it’s been great to hear amazing feedback since we closed our doors. In addition to this, 2022 was notable for some incredible brand engagement and experiences – it’s clear to see that brands are ready and willing to engage with festival audiences again.

48 n www.eventbuyerslive.com

You increased staff welfare facilities at this year’s festival. What factors led to your decision to increase welfare provision?

At the end of 2021, I attended a few industry events, including the fantastic Event Buyers Live, and was confronted by a host of colleagues and friends, who were absolutely done in after an incredibly challenging post-COVID return to major events. This reiterated to me that our industry needed to do more to look after the people who make our events come to life. Aligned to this, our incredible Bournemouth 7s team had gone through COVID uncertainty, a 42-day lead into our biggest ever festival and then a month lead into a festival launch.

They kept delivering but were under significant pressure and we realised that this was not sustainable. We have always been good at looking after our staff, but I was determined that we could and should do more to ensure that they enjoy going to work, even in the busiest times.

What welfare provision did you previously deploy? How did this year’s provision differ?

Staff welfare isn’t complicated; it’s just about making sure that you take care of the basics, which so easily get forgotten when everything is bang up against it. This year, we had a dedicated staff and welfare manager who was tasked with ensuring staff were fed, watered, and rested during the event. We

had several dedicated mental health first aiders, supported by our partnership with Dorset Mind, and ensured that welfare provisions were in place throughout the weekend. We worked with a new staff catering company, Kingsgate Catering, who delivered great hot food throughout the event and built a dedicated Light-On Lounge for staff to eat, rest, and relax during the event. In addition to this, we also looked to see where we could reduce shift times and avoid staff starting at the crack of dawn and finishing 18 hours later. Inevitably, there are long shifts and high pressure in our world, but we wanted to make sure our team knew how valued they all are in making Bournemouth 7s the success it is.

BOURNEMOUTH 7S

I was determined that we could and should do more to ensure that they enjoy going to work, even in the busiest times

How were the new welfare facilities received?

Monitoring the impact of these measures is always a little bit challenging as you don’t see a tangible outcome from many of them.

However, anecdotally, we received some great and generous words about the thought we had put into many of the plans. We saw far more staff working throughout the weekend on adjusted shifts and staff drop-off was significantly lower than in 2021.

What did you learn at this year’s event and how will you build on staff welfare for 2023?

Looking after our people is right at the centre of everything we do, and we will continue to build on this for future versions of the event. We are looking to create a dedicated quiet zone on-site and will be engaging with some of the wider events industry bodies to see where there are gaps and how we can build on these. One area we have highlighted is in providing access to all and we have some great ideas to welcome new audiences next year.

wwww.eventbuyerslive.com n 49

BOURNEMOUTH 7S

In terms of 2022 event delivery – how did it go? Was it stressful? What challenges did you face and how did you overcome them?

Through my wider network, I’ve heard some real horror stories about the events supply chain this year and I certainly wouldn’t want to have been delivering a year one event in 2022. With that said, we are incredibly lucky to have an amazing and established network of supply partners and contractors who play a huge part in delivering our festival each year. I’m pleased to report that we were able to source everything that we needed for the festival, and all were delivered on time and to an excellent standard.

With that said, there were certainly some real challenges in managing our budgets for this year with infrastructure costs, rising by around 30 per cent year on year. We managed to work around these increases by having honest conversations with our suppliers about their cost increases and working out where they were not operating at maximum efficiency. For example, Mar-key Group which provides some of our mostloved festival arenas chose to move away from the small clearspans on-site. This led to us working with Camelot and Chique Marquees, which delivered a host of smaller structures across the event site. Similarly, by working with local plant providers (Hire Access Platforms) and specialist buggy companies (OBH), we were able to mitigate increases in hire costs that were being seen when provisions were combined.

In 2021, we saw huge challenges in recruiting people in various areas across the event, most notably SIA security staff and hospitality team members. As such, we sought to split our requirements for 2022 across several local and regional suppliers to ensure that we had sufficient numbers in place. By working with Showsec, PPE Security, and B-Secured Security, for instance, we ensured that we had more

50 n www.eventbuyerslive.com

than the required SIA staff across the event.

This model of zoning your event site and staffing specific areas required more work up front but certainly provided resilience in the delivery of a safe event. We also worked alongside The Fair in ensuring that we had a security coordinator in place to supervise the various companies operating in this space.

What site developments did you implement this year?

Having made the most changes we have ever made in 2021, we thought it best to allow the festival a year to bed in those changes for 2022 and we’re incredibly pleased that we did. Bournemouth 7s Festival 2022 was the best-looking festival we have ever pulled off with more finishing and branding touches than we have ever been able to implement before. Visual Architects and A Different World both made a huge impact to some of our fantastic festival arenas whilst our team of in-house creatives and chippies created the backdrops to some truly inspirational moments.

Looking to 2023, what’s the plan?

We will take the summer to reflect, learn, and recover before planning starts in earnest later in the year. We have some amazing ideas for new arenas, an enhanced VIP offering, and a new sport but, for now, I want my team to recover and reflect on the amazing festival they helped build in 2022.

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LOVE SAVES THE DAY Images © Love Saves the Day/Mike Massaro/Soul Media

Love wins

Torrential rain at this year’s Love Saves the Day has forced promoter Team Love to consider wet weather and shelter plans for 2023. Here, Tom Paine, festival director, reflects on 2022 and year one on a new site

I

n November 2019, Team Love, promoter of Love Saves the Day, secured a new site and festival licence to host 39,999 festivalgoers at Ashton Court, Bristol, in 2021. The two-day festival was all set to host its last festival at its Eastville site in 2020 when COVID struck. As the pandemic lingered and restrictions curtailed events and festivals taking place, Team Love was forced to host Love Saves the Day 2021 on The Downs [September 4-5] – the move was purely a one-off.

Team Love had bigger plans and was adamant that the show’s 10th anniversary would take place in its new intended home – Ashton Court – with a much larger audience.

“We chose to move site because, essentially, we had outgrown our Eastville location,” explained Tom Paine, Love Saves the Day’s festival director. “The council was keen for us to move. We had had three or four years of sold-out shows and with 22,000 people on site each day, egress had a big impact on the local residential area.

52 n www.eventbuyerslive.com

“At first, I was hesitant about moving to Ashton Court because of the legacy we had created and the feeling of community that we had but Ashton Court is stunning,” Paine commented. “It’s nice to be slightly out of Bristol and the site gives us the ability to create bigger festival structures and festival environments.”

BIBLICAL DOWNPOUR

Love Saves the Day 2022 took advantage of the Platinum Jubilee Weekend. Instead of taking place on May 28 and 29, and its usual May Bank Holiday slot, the two-day festival took place on June 2 and 3. It was an eventful weekend. Especially as torrential rain and thunderstorms caused Paine and his team to temporarily close festival bars and a stage with a leaking roof.

“We had an eventful 90 minutes,” said Paine. “The rest of the festival was amazing, and everything worked as we wanted but on Friday, as we hit capacity, at about 4.30 pm, there was biblical rain.

LOVE SAVES THE DAY

“When the rain came, it was unexpected and torrential. There was a forecast of showers but nothing as heavy and as constant as the two hours we all faced.

“Lots of people had turned up in festival gear but had not prepared for the rain.”

The downpour soaked some festivalgoers, who chose to leave the festival, causing a small egress issue. This was professionally handled by Judy Bec, event controller and head of ELT, Tom Solly, head of health and safety, and Chris Birkett, site manager. However, as Paine and his team now head into an event debrief, it’s an issue that will need some discussion for 2023.

Paine continued: “Love Saves the Day has been an outdoor open-air festival since its beginning 10 years ago.

We have had some tents over the years, but we have always been predominantly outdoors and uncovered. Fundamentally, it would not be possible to provide cover for 30,000 people simultaneously during a biblical downpour without putting all the stages into tents and completely changing the whole identity of the festival – but we will look to provide more cover and shelter next year and to ensure that the site-wide response system is strengthened.”

Paine described the weather incident as an “eye-opener”.

The Love Saves the Day team

has previously managed rain and inclement weather during their event, but Paine wondered whether a brand new and “inexperienced” crowd, not used to attending festivals, were not prepared for rain and festival realities. Paine added: “I don’t want to start using big tops. I find them soulless. If we had a 2,000-capacity tent and 10,000 people trying to get in it, we’d have other problems.

There’s a good chance that we will need to prepare for rain and build shelter into our plans.”

LESSONS LEARNED

The bigger site and larger licence called for more infrastructure. Team Love contracted more toilets and bars and worked with its supply chain to create the newlook site. “The supply chain has been tricky,” said Paine.

“There’s still a huge amount of scarcity in infrastructure.

Usually, we would have one marquee provider for our bars and back of house structures, but this year we had three. And there were lots of bumps along the way. For example, with two months to go, we had to change the trackway supplier.

They couldn’t supply us.”

Paine confirmed that prices have increased by 30 to 40 per cent but honest conversations with good people have helped Team Love to navigate the process.

When asked to reflect on year one at Ashton Court, Paine explained: “It was our first year on a new site and there were always going to be lessons to be learned. We’re going to tweak the site. It’s hard to see what the site is really like when you have a 2D map. We gave our customers loads of space and they appreciated that they could lie down and chill with their mates, but we might bring the fence line in a bit to make some of the site more intimate.”

Paine acknowledged that if Team Love wants to continue growing Love Saves the Day, then some aspects – such as egress – will need to be looked at.

He concluded: “It’s exciting to have year one under our belts and to look at year two.

Looking at our shots of the main stage, it feels like we have stepped up a level. We are starting work now to ensure we do everything we can to improve the show at its new home for 2023.”

wwww.eventbuyerslive.com n 53

SUSTAINABILITY

CHIARA BADIALI

On the road to greener touring F

Chiara Badiali, music lead at Julie’s Bicycle, and board member of Vision 2025, discusses sustainable measures that touring professionals should consider

acing up to the climate emergency demands transformational change across how we live, work, and Government policy. Everything must be up for grabs. Our starting point: Stop burning fossil fuels. But what happens next?

The music touring industry has been in the spotlight thanks to a few high-profile artists speaking out and implementing new carbon reduction strategies. Touring is an ecosystem, with lots of individuals and businesses coming together that each have their own spheres of control and levers of influence.

Julie’s Bicycle first looked at this in detail in our Moving Arts research, interviewing every part of the music touring supply chain to identify who could change what.

Artists hold more control over design, travel, and freight; how much energy and materials the show itself needs, how much stuff and how many people need to go on the road, and how they get around. Artists and their agents and promoters control routing. Venues control how shows are powered (and how much is invested in energy efficiency). Suppliers have on-theground expertise and make research and investment decisions that shape what is available to the market. Promoters, venues, and ticketing agencies have more levers to

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influence audience travel choices. Making change means everyone bringing their own creativity and influence, and most importantly working together.

Seeds of change are emerging. Julie’s Bicycle has been working with Live Nation Green Nation behind the scenes on support for tours to tackle their environmental impact. Massive Attack is working on putting its research with the Tyndall Centre into practice and opening important conversations about the sponsors with ties to the fossil fuel industry being invited into our creative spaces. Coldplay’s detailed strategy for its Music of the Spheres tour includes trialling battery power systems, while smaller bands are routing so they can use electric vans (or trains).

Artists are finally getting serious about using Green Riders to push for longerlasting change from venues. The O2 Arena has announced that the venue will not only go entirely vegan for Billie Eilish’s residency (who is working with NGO Reverb), but also remove beef burgers from the concession menu permanently going forward. Pearl Jam has pledged a voluntary carbon price of $200 per tonne for its current tour, which is far more than cheap and often ineffective carbon offset credits. And the number of artists pledging a percentage of tour

profits for climate investments through EarthPercent or ecolibrium is also growing.

Suppliers are stepping forward, whether it’s the super-efficient Danley Sound Labs speakers or d&b Audiotechnik’s Certified Pre-Owned remanufactured range, trucking companies investing in fuel efficiency retrofits and electric vans, or staging company TAIT installing solar PV on its Production Park HQ. Climate action means tackling both supply and demand, with the key areas for significant carbon reduction coming from switching to: • Renewable energy and reducing energy use.

• Electrified transport and putting fewer trucks and vans on the road.

• Plant-based menus and reducing food waste.

• Better sourced materials for set design and designing shows that use less, re-use more, and require less stuff to be moved; and • New business models for routing and touring that mean less flying overall.

Beyond the practical, live music has an opportunity to be a voice influencing audiences and advocating political reforms – for example, investment into public transport, renewable energy generation in the grid, and fairer taxation of aviation fuel – which will change the systems in which music touring itself operates.

Cannon hire and event SFX www.ConfettiMagic.com

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T 01582 723502 E info@confettimagic.com ES Lighting Hire Ltd

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CONNECTIONS ASSOCIATION

Connections are sponsored by BIG SCREEN PRODUCTION

Event Hire Association 2450 Regents Court, The Crescent, Birmingham Business Park, Solihull, B37 7YE T: 0121 380 4600 W: www.eha.org.uk E: membership@eha.org.uk

Screen Works Europe South Lodge, Tidmarsh Lane, Pangbourne, Berkshire, RG8 8HT T: 01189 845545 E: rental@ect-av.com W: www.ect-av.com

AV, SOUND & LIGHTING Event Production Services The Pack House, Drayton St. Leonard, Oxford, OX10 7BG E: info@epsoxford.com T: 01844 278446

BRAND ACTIVATION & EXPERIENTIAL

Press Red Rentals Limited Unit B10 Court 2000, Bridgnorth Road, Madeley, Telford, TF7 4JB T: +44 (0) 1952 587049 W: www.pressred.biz

Instant Marquees DD: 01840 219047 | M: 07748 165 827 www.instantmarquees.co.uk Versatile Venues Creative Mobile Solutions Wireless Hill, South Luffenham, Oakham, Rutland, LE15 8NF T: 01780 720 217 E: info@versatilevenues.co.uk W: www.versatilevenues.co.uk

BALLOONS, BUNTING & FLAGS B-Loony Ltd Cape House, 105 Bellingdon Road, Chesham, Buckinghamshire, HP5 2HQ T: 01494 774376 E: sales@b-loony.co.uk W: www.b-loony.co.uk

BAR Bar Live Events Unit D215, Parkhall Studios, London, SE21 8DE T: 0208 761 8424 E: nick@barlive.co.uk W: www.barlive.co.uk Cambridge Event Bars T: 01223 785401 M: 07837 707057 E: Info@cambridgeeventbars.co.uk W: www.cambridgeeventbars.co.uk Pop-up-Pubs T: +44(0)1993 832155 E: info@pop-up-pubs.com W: www.pop-up-pubs.com Symonds Event Bars Drakewell, Stoke Lacy, Bromyard, Herefordshire, HR7 4HG T: 01885 490267 E: info@eventbars.co.uk W: www.eventbars.co.uk

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BUGGY HIRE Bradshaw Event Vehicles New Lane, Stibbington, Peterborough, PE8 6LW T: 01780 782621 E: enquiries@eventvehicles.co.uk W: www.eventvehicles.co.uk Twitter: @Bradshaw_EV Electric Wheels Ltd Units C1 & C2, Neaton Business Park, Watton, Thetford, IP25 6JB T: 01953 882175 M: 07711 648707 M: 07725 761970 E: info@electricwheelshire.co.uk W: www.electricwheelshire.co.uk Event Buggy Hire T: 0113 393 4100 E: brian@eventbuggyhire.co.uk W: www.eventbuggyhire.co.uk Hopkins Machinery T: 01633 680754 E: hire@hopkinsmachinery.co.uk W: www.hopkinsmachinery.co.uk

CONNECTIONS

Connections are sponsored by CABINS

CONCRETE BARRIER Qdos Event Hire Ltd Fernside Place, 179 Queens Road, Weybridge, Surrey, KT13 0AH T: 0845 862 0952 E: enquiries@qdoseventhire.co.uk W: www.qdoseventhire.co.uk Twitter: @QdosEventHire Facebook: www.facebook.com/pages/Qdos-Event-Hire/ Instagram: @qdoseventhire

Block Aid UK Ltd Unit 1, Green Farm, Puxley, Towcester NN12 7QS T: 01908 26 33 66 E: info@blockaid-uk.co.uk W: www.blockaid-uk.co.uk CORPORATE CREW Ace Crew Ltd Units 3 & 7, Princess Court, Horace Road Kingston upon Thames, KT1 2SL T: +44(0) 20 7924 6569 M: +44(0)7947 88 66 99 W: www.acecrew.co.uk

Wernick Events Joseph House, Northgate Way, Aldridge, Walsall, WS9 8ST T: 01922 472 900 E: events@wernick.co.uk W: www.wernick.co.uk/events Twitter: @WernickEvents Instagram: @WernickEvents

Rodeo Crew 128 Wey House, 15 Church Street, Weybridge, Surrey, KT13 8NA T: 020 8075 7799 E: bookcrew@rodeocrew.uk W: www.rodeocrew.uk

CAR PARKING Event Traffic Control Limited Baldersby Gardens, Ripon Road, Baldersby, Thirsk, North Yorkshire, YO7 4PS T: 08000 246 800 E: info@eventtc.com W: www.eventtc.com Just Go Parking Unit 7 Broadway Green Farm, Lightwater, Surrey, GU18 5SU T: 01276 590325 E: contactus@justgoparking.com W: www.justgoparking.com Phoenix Events (East) Ltd St. Georges Works, 51 Colegate, Norwich, Norfolk, NR3 1DD T: 01603 952312 M: 07592 739928 E: admin@phoenixeventseastltdco.uk W: www.phoenixeventseastltd.co.uk

CASHLESS SYSTEMS Weezevent/Playpass Platf9rm, Floor 6,Tower Point, 44 North Road,Brighton, BN1 1YR T: 07500 797640

CLEANING & SUPPORT SERVICES Falcon Cleaning and Support Services Ltd Specialised Cleaning and Support Services (Nationwide) 31 Oldbury Road, Enfield, EN1 3QN T: 0208 798 2699 E: events@falconcss.co.uk W: www.falconcss.co.uk

CREW SERVICES S3K Group The Old Mill Building, Rookery Farm, Bognor Regis, West Sussex, PO22 6EP T: 0845 299 7991 E: office@s3kgroup.com W: www.s3kgroup.com LinkedIn, Facebook & Instagram: @s3kgroup Site and Stage Ltd (SAS) Festival and Event Crew Nationwide T: 0207 205 2434 M:07770 521521 W: www.siteandstage.co.uk

DIGITAL PLANNING Iventis Think Tank, University of Lincoln, Ruston Way, Lincoln, LN6 7FL T: 01522 837205 W: www.iventis.co.uk E: info@iventis.co.uk Eamon Kerrigan: E: Eamon.kerrigan@iventis.co.uk

ENTERTAINMENT Odin Events Ltd Unit 1 RoundHouse Farm, Marston Meysey, SN6 6LL T: 0800 030 6881 E: info@odinevents.com W: www.odinevents.com

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CONNECTIONS EVENT ACCOMMODATION

Connections are sponsored by EVENT PRODUCTION

Airstream Facilities Ltd T: +44 (0) 1885 400223 E: info@airstreamfacilities.com W: www.airstreamfacilities.com

Ethix Management Unit 15 Kempton Gate Business Centre, Oldfield Road, Hampton, TW12 2AF T: 0208 487 3508 M: 07836 736734 W: www.ethixmanagement.com

Bunkabin Tweedale Way, Oldham, OL9 7LD T: 0345 456 7899 E: hires@bunkabin.co.uk W: www.bunkabin.co.uk Zoo Events Group Ltd Stockton Dairy, Stockton, Warminster, BA12 OSQ T: 01258 840233 E: info@zooeventsgroup.co.uk W: www.zooeventsgroup.co.uk

Sparq T: 0370 606 1100 E: hello@sparq.live W: www.sparq.live

EVENT SAFETY Blue Yonder Events Ltd T: 07432 214607 w: www.blueyonder-events.co.uk

EVENT CONTROL, RADIO & WI-FI SERVICES Controlled Events First286 class Resilience, T: 0203 6392 E: info@controlledevents.com Readiness, W: www.controlledevents.com Communication &

EVENT HIRE

LFX Safety Stockport BIC, Gtr Manchester, SK5 7DL T: 0161 408 2220 E: enquiries@LFXevents.co.uk W: www.LFXevents.co.uk

Control for incidents or pre-planned events.

Symphotech Safety. Production. Noise Management Claire Feeney T: 0871 711 5264 E: claire@symphotech.co.uk W: www.symphotech.co.uk

GBJ Event Hire Graham Jones T: Office. +44(0) 207 205 4226 E: hire@gbjeventhire.co.uk W: www.gbjeventhire.co.uk

EVENT MANAGEMENT

Award Winning Results

2Can Productions T: 029 20 100256 E: info@2canproductions.com W: www.2canproductions.com

www.controlledevents.com

Blue Yonder Events Ltd T: 07432 214607 w: www.blueyonder-events.co.uk LFX Events Stockport BIC, Gtr Manchester, SK5 7DL T: 0161 408 2220 E: enquiries@LFXevents.co.uk W: www.LFXevents.co.uk Saltem Ltd Eliot Park Innovation entre, 4 Barling Way, Nuneaton, Warwickshire, CV10 7RH T: 02476 796455 W: www.saltem.co.uk Victorious Events E: info@victoriousevents.co.uk T: 07869 701 616 W: victoriousevents.co.uk

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EVENT STAFF Festivall Services The Circle, 33 Rockingham Lane, Sheffield, South Yorkshire, S1 4FW E: hello@festivall.services M: 07547 509 409 T: 01144 055 044 W: www.festivall.services

EVENT STAFFING SOFTWARE uTRAC 24A Lower Abbey St, Dublin 1, Ireland T: 0808 189 0334 E: hello@utraconline.com W: www.utraconline.com

CONNECTIONS

Connections are sponsored by EXHIBITION TRAILERS & MOBILE UNITS DWT Exhibitions Trailer Hire, Sales & Management Jubilee Park, Honeypot Lane, Colsterworth, Lincolnshire, NG33 5LZ T: 01476 860833 E: pip@dwt-exhibitions.co.uk W: www.dwt-exhibitions.co.uk Inchmere Event Design Ltd Swan Close Studios, Swan Close Road, Banbury, OX16 5TE T: 01295 661000 E: alastair@inchmere.co.uk W: www.inchmere.co.uk TCM Trailers Ltd Watery Lane, Lichfield, Staffordshire, WS13 7SE E: emily@tcmtrailers.co.uk W: www.tcmtrailers.co.uk

FESTIVAL GAS Festival Gas Priors Revel, Church lane, Middleton, Nr Tamworth, B78 2AL T: 07930 758893 E: simon@festivalgas.co.uk W: www.festivalgas.co.uk

FLOORING & FLOOR COVERINGS Coir Store E: andy@coirstore.co.uk T: 07884303082 W: www.coirstore.co.uk CTN Exhibitions Limited Unit G3A, Halesfield 19, Telford, Shropshire, TF7 4QT E: Sales@ctn-uk.com T: 00 44 1952 680423 W: www.ctn-uk.com 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

FIRE COVER 1st Defense Fire & Rescue Services Ltd South Wing of Building, 140 Dunsfold Park, Stovolds Hill, Cranleigh, GU6 8TB T: 01483 200911 F: 01483 200994 E: admin@1stdefensefire.co.uk W: www.1stdefensefire.co.uk

FLAGPOLE HIRE Fuchsia Exhibition Services Ltd 13 Oak Park Industrial Estate, Chelmsford Road, Great Dunmow, Essex, CM6 1XN T: 01371 644800 E: info@fuchsiaevents.co.uk W: www.fuchsia-exhibition-services.com

FURNITURE HIRE / SALES 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.cityfurniturehireltd.com - Funky Furniture Hire Ltd T: 0203 328 5446 E: info@funkyfurniturehire.co.uk W: www.funkyfurniturehire.co.uk Furniture On The Move Unit B, Canada warehouse, Chittening industrial estate Worthy road , Avonmouth, Bristol, BS110YB T: 0845 459 9875 E: info@furnitureonthemove.co.uk W: www.furnitureonthemove.co.uk Picnic Table Hire T: 01873 859188 E: hello@picnictablehire.com W: www.picnictablehire.com

FLAGS

Instant Marquees DD: 01840 219047 | M: 07748 165 827 www.instantmarquees.co.uk

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CONNECTIONS

Connections are sponsored by

HEATING & COOLING SYSTEMS

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

BiemmedueUK & Arcotherm Units 15 & 16, Ecclesbourne Park, Clover Nook Road, Alfreton, DE55 1RF T: 01773 836999 | E: sales@biemmedueuk.com W: www.biemmedueuk.com Cooling and Heating Solutions Ltd T: 01590 681 434 E: sales@candhs.co.uk W: www.coolingandheatingsolutions.com 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.spicasolutions.com

INSURANCE

YSLV London & York T: 0800 080 3310 E: hire@yslv.co.uk W: www.yslv.co.uk

LIGHTING Illumin8 Contact details: Neil - 07710 700759 or Ian - 07568 430704 E: sales@illumin8lights.co.uk W: www.illumin8lights.co.uk

LOCKERS Arc International St. Clare House, 30-33 Minories, London, EC3N 1PE T: +44 (0)207 977 7637 W: www.apex-ins.co.uk/arcinternational Tysers Insurance Brokers 71 Fenchurch Street, London, EC3M 4BS T:+44 (0)203 037 8000 E: tim.rudland@tysers.com W: www.tysers.com

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

LED SCREENS EMF Technology Ltd Unit 27 Freemantle House, Kingsclere Business Park, Kingsclere, Hants, RG20 4SW T: 020 8003 3344 E: info@emftechnology.co.uk W: www.emftechnology.co.uk Lightmedia Displays Mobile & Modular LED Screen Hire T: 0333 600 6000 24 hour response E: sales@lightmedia.co.uk W: www.lightmedia.co.uk

60 n www.versatilevenues.co.uk

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

MARQUEES Alternative Stretch Tents Building 15, Gateway 1000, A1 (M) jct 7, Stevenage, SG1 2FP T: 01920 830256 E: info@alternative-stretch.co.uk W: www.alternative-stretch-tents.co.uk Crocker Bros 8 – 18 Station Road, Chellaston, Derby, DE73 5SU T: 01332 700699 W: www.crockerbros.co.uk E: sales@crockerbros.co.uk Event-in-a-tent Unit 108, Abby Road South, Wrexham Industrial Estate, LL13 9RF T: 01978 661449 E: info@event-in-a-tent.co.uk W: www.event-in-a-tent.co.uk Fews Marquees Chessgrove Park, Ditchford Bank Road, Hanbury, Bromsgrove, Worcestershire, B60 4HS T: 01527 821789 W: www.fewsmarquees.co.uk

CONNECTIONS

Connections are sponsored by 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@tentickle-stretchtents.co.uk W: www.tentickle-stretchtents.co.uk Top Cat Big Tops Tents & Marquees Ltd The Old Stable Yard, Gasworks Ln, Achynlleth, SY20 8BY T: 01654 700030 E: info@topcatbigtops.co.uk W: www.topcatbigtops.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@locationmedical.com W: www.locationmedical.com First Aid Cover Ltd 250 York Road, Battersea, London, SW11 3SJ T: 020 8875 5758 E: enquiries@firstaidcover.co.uk W: www.firstaidcover.co.uk MET Medical Ltd T: 0203 627 9042 E: info@met-medical.co.uk W: www.met-medical.co.uk

PHOTOGRAPHY Aniseed Event Photography E: jt@aniseedpr.com W: www.aniseedphoto.com Twitter: @aniseedphoto Instagram: @aniseedeventphotography

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@hopkinsmachinery.co.uk W: www.hopkinsmachinery.co.uk

PORTABLE TOILET HIRE A1 Loo Hire Silver Birches, Highland Avenue, Wokingham, Berkshire, RG41 4SP T: 0118 9894652 E: clive@a1groupcomp.co.uk W: www.a1groupcomp.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@zooeventsgroup.co.uk W: www.zooeventsgroup.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.cbpottselectrical.co.uk

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CONNECTIONS Excell Electrical Event Solutions Fridd Farm, Bethersden, Kent, TN26 3DX T: 01233 822059 E: enquiries@excellelectrical.com W: www.excellelectrical.com Fourth Generation Ltd 220 Cricklewood Lane, London, NW2 2PU T: 020 8450 2943 M: 07741 052565 E: tweed@fourthgenerationltd.com W: www.fourthgenerationltd.com

Connections are sponsored by PRINTERS UK Flyers Suite 210, Victory House, Somers Road, North Portsmouth, HampshirePO1 1PJ T: 023 9229 3050 E: sales@ukflyers.com W: www.ukflyers.com

PROJECTION

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 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

EMF Technology LTD Projection Mapping, Water Screens, Flame Effects, Lighting, Mains Distribution T: 020 8003 3344 E: info@emftechnology.co.uk W: www.emftechnology.co.uk

PROMOTIONAL ITEMS & CLOTHING Concept Products Ltd 10 Cary Court, Somerton Business Park, Somerton, TA11 6SB T: 01458 274020 E: ben@conceptproductsltd.co.uk W: www.conceptproductsltd.co.uk

RADIO COMMUNICATIONS

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

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

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

Power Events T: 01277 424800 E: enquiries@powerevents.co.uk W: www.powerevents.co.uk

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

Powerline Knowle Hill Farm, Beeks Lane, Marshfield, Chippenham, Wiltshire, SN14 8BB T: 01225 892336 E: info@thepowerline.co.uk W: www.thepowerline.co.uk Progen Power Ltd Protection House, The Venture Centre, Yeoford Way, Marsh Barton, Exeter, EX2 8LP T: 0330 165 5720 Stuart Power Ltd Stuart House, Hargham Road, Shropham, Norfolk, NR17 1DT T: 01953 454540 E: enquiries@stuartgroup.info W: www.stuartgroup.ltd.uk/power

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ROADSHOWS Versatile Venues Creative Mobile Solutions, Wireless Hill, South Luffenham, Oakham, Rutland, LE15 8NF T: 01780 720 217 E: info@versatilevenues.co.uk W: www.versatilevenues.co.uk

CONNECTIONS

Connections are sponsored by SEATING

STAGING & RIGGING Ace Seating Hire T: 01832 273353 E: info@aceseating.co.uk W: www.aceseating.co.uk

SECURITY McKenzie Arnold Grove House, Faulkbourne, Essex, CM8 1SH T: 01376 350999 E: martin.jackson@mckenziearnold.com W: www.mckenziearnold.com 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@provide-security.com W: www.provide-security.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 SAFETY SafeSite Facilities Ltd Unit 1, Martello Enterprise Centre, Courtwick Lane, Littlehampton, West Sussex, BN17 7PA T: 0800 114 3228 E: info@safesitefacilities.co.uk W: www.safesitefacilities.co.uk Social media platforms: LinkedIn: https://www.linkedin.com/company/ safesite-facilities-ltd Twitter: https://twitter.com/safesitefac Facebook: https://www.facebook.com/SafeSiteFacilities-Ltd-467996143326191

Complete Staging Ltd T: 01282 862777 | W: www.completestaging.co.uk E: gary@completestaging.co.uk IPS (Impact Production Services) 29 Mount Avenue, Bletchley, Milton Keynes, MK1 1LS E: enquiries@ips.co.uk W: www.ips.co.uk T: 01908 657950 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 Phoenix Events (East) Ltd St. Georges Works, 51 Colegate, Norwich, Norfolk, NR3 1DD T: 01603 952312 M: 07592 739928 E: admin@phoenixeventseastltdco.uk W: www.phoenixeventseastltd.co.uk

Road Traffic Solutions 60-64 Oswald Road, Scunthorpe, DN15 7PQ T: 01724 848 246 E: dan@roadtrafficsolutions.com W: www.roadtrafficsolutions.com

TEMPORARY BRIDGES Mitchell Bridges Limited London Road, Kings Worthy, Winchester, Hampshire, SO23 7QN T: 01962 885040 M: 07768630373 E: chris@mitchellbridges.com W: www.mitchellbridges.com

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CONNECTIONS TEMPORARY ROADWAYS

Connections are sponsored by TICKETING

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

RedBox Events Balbir House, Norton Green Road,Stevenage, Herts, SG1 2LP T: 0333 242 7920 W: www.redboxevents.com

TIPIS Zoo Events Group Ltd Stockton Dairy, Stockton, Warminster, BA12 OSQ T: 01258 840233 E: info@zooeventsgroup.co.uk W: www.zooeventsgroup.co.uk

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@tentickle-stretchtents.co.uk W: www.tentickle-stretchtents.co.uk

TRACKWAY All Weather Access County Farm, High Roding, Dunmow, Essex CM6 1NQ T: 01371 700510 M: 07801 751137 E: henry@all-weatheraccess.co.uk W: www.all-weatheraccess.co.uk

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

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

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

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.worldwidestructures.com

JTM Signs Unit 20 H T M Business Park, Abergele Road, Rhuddlan, Rhyl, LL18 5UZ T: 01745 590056 E: steve@jt-m-signs.co.uk W: www.jtmsigns.co.uk

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

64 n www.versatilevenues.co.uk

Road Traffic Solutions 60-64 Oswald Road, Scunthorpe,DN15 7PQ T: 01724 848 246 E: dan@roadtrafficsolutions.com W: www.roadtrafficsolutions.com

CONNECTIONS

Connections are sponsored by TRANSPORTATION & LOGISTICS

WATER & PLUMBING SERVICES

Expo World Logistics Ltd Unit 5, Norton House,Fircroft Way, Edenbridge Kent, TN8 6EL T: 01732 866881 E: info@expoworldlogistics.com W: www.expoworldlogistics.com GAC Pindar Medina Chambers, Town Quay, Southampton, SO14 2AQ T: 02380 489924 E: pindar@gac.com W: www.gacpindar.com Twitter: @GACPindar 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, Peterborough, PE8 6LW T: 01780 782621 E: enquiries@eventvehicles.co.uk W: www.eventvehicles.co.uk Twitter: @Bradshaw_EV VENUES The Convention Centre Dublin (The CCD) Spencer Dock, North Wall Quay, Dublin 1, Ireland T: 00353 1 856 0000 E: sales@theccd.ie W: www.theccd.ie

VENUE MAPPING Iventis Think Tank, University of Lincoln, Ruston Way, Lincoln, LN6 7FL T: 01522 837205 W: www.iventis.co.uk E: info@iventis.co.uk Eamon Kerrigan: E: Eamon.kerrigan@iventis.co.uk

WASTE MANAGEMENT Grist Environmental Event Services Head Office, William Road, Devizes, Wiltshire, SN10 3EW T: 01380 735045 E: events@gristenvironmental.com W: www.gristenvironmental.com

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

DRINKING WATER PURE & SIMPLE

Liquiline Ltd Ash Tree House, Tarrant Hinton, Blandford, Dorset, DT11 8JA T: 01258 830324 E: office@liquiline.co.uk W: www.liquiline.co.uk Show Site Services Ltd Unit 18 Weybridge Business Centre, 66 York Road, Weybridge, Surrey, KT13 9DY T: +44 (0)1932 228416 W: www.showsiteservices.co.uk 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@wickedeventwaterservices.com W: www.wews.biz

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 RedBox Events Balbir House, Norton Green Road, Stevenage, Herts, SG1 2LP T: 0333 242 7920 W: www.redboxevents.com SimpliWifi The Telephone Exchange, 33 Bridge Street, Kington, Herefordshire, HR5 3DW T: 0800 298 9434 E: hello@simpliwifi.co.uk W: simpliwifi.co.uk

www.versatilevenues.co.uk n 65

NEXT ISSUE

Featured in our nex t issue. .

Editor Caroline Clift caroline@standoutmagazine.co.uk Publication manager Sarah Bourne sarah@standoutmagazine.co.uk T: 01795 509113 Sales executive Holley Wilkinson holley@standoutmagazine.co.uk Design and production Jack Witcomb studio@standoutmagazine.co.uk Digital and web developer Matthew Coppard Credit control Janine Walmsley creditcontrol@standoutmagazine.co.uk T: 01795 509103

DIGGING DEEP

Hillhead 2022 is back, and with a raft of event developments – Hillhead’s Harvey Sugden walks StandOut through the changes

Publisher Neil Fagg neil@standoutmagazine.co.uk T: 01795 509101 Managing director John Denning StandOut Multimedia Limited, Cobalt Building, 1600 Eureka Park, Lower Pemberton, Ashford, Kent TN25 4BF www.standoutmagazine.co.uk Subscribe:

PIECE TIME

Cuffe and Taylor has agreed to programme a series of live events at The Piece Hall, Halifax. StandOut checks out Live at Piece Hall

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 StandOut 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 StandOut magazine. © 2022. StandOut Multimedia Limited, Cobalt Building, 1600 Eureka Park, Lower Pemberton, Ashford, Kent, TN25 4BF.

HOLE IN ONE

StandOut heads to St Andrews for The 150th Open, the prestigious golfing tournament

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