StandOut Magazine September 2022 by Cogent Multimedia Ltd

September 2022 BIRMINGHAM 2022 EISTEDDFOD DF CONCERTS TOWERSEY EBL

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The Commonwealth Games was a mammoth project that required the expertise of several event suppliers. Many #eventprofs have said that the sporting event added pressure to a supply chain already showing signs of stress and fatigue, as live events returned following a two-year hiatus. In this issue, we chat with some of the people and industry suppliers, responsible for delivering the large-scale event, including Mick Wright, executive director workforce, Games services and readiness. Plus, we also chat with a raft of organisers and industry experts that delivered live events outside of the West Midlands!

t the end of July, I had the extreme pleasure of attending the opening ceremony of the Birmingham 2022 Commonwealth Games. The show was an epic display of creative production and precision and that bull… well, it was just incredible. As far as animated and animatronic bulls go, it pi&%ed all over Jim Bowen’s Bully and garnered an unforeseen reaction from the public.

For example, we headed to Buckinghamshire for Towersey Festival and popped to South Yorkshire to check out Underneath the Stars. Both are small festivals but that does not mean that their ambitions are not big, and their developments are not noticeable. And that’s not all. This month, we also talked to the team behind Eisteddfod, and the access team at DF Concerts, and we turned our focus to automotive events, interviewing the organisers of Firle Beacon, The Classic at Silverstone, Formula E, and Goodwood Festival of Speed. The organisers are striving to develop their events, investing in off-track content to attract wider audiences. According to Lakefest’s Lee Martin [read our ticketing feature], festivalgoers want more immersive, connected experiences, which is why the festival has opted to adopt NFT ticketing and merchandising technology for 2023. It’s clear that organisers want control over the future of their events, and so if our industry is to move forward in a sustainable way, flexibility, collaboration, and strong, honest relationships will be key. I’m all for that… if people also remember to be kind.

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If you turn to page 12, you can read our interview with Birmingham Ceremonies’ Gary Beestone and Zoe Snow, who were responsible for delivering the ceremony, and if you visit our new-look website, you can read an insightful interview with The Bulb’s Selina Donald, who was engaged by the ceremonies team as sustainability consultant.

Happy PS:Carolinereading,Registration for Event Buyers Live is now open – don’t miss the industry event of the year @StandOutmag EDITOR’S LETTER Cover image: © Getty Images

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n 05 CONTENTS EXTRAORDINARY MOMENTS 12 ACCESS FOR ALL 37NATIONAL TREASURE 43 DRIVING FORCE 25 10 EVENT TENDERS Discover the latest event tenders and contract wins 12 EXTRAORDINARY MOMENTS Birmingham Ceremonies’ Gary Beestone and Zoe Snow reveal all about the opening and closing ceremonies of Birmingham 2022 25 DRIVING FORCE StandOut goes under the bonnet of automotive events and chats to the organising teams behind Goodwood Festival of Speed, The Classic at Silverstone, Formula E, and Firle Beacon 30 BEST PRACTICE AT EBL What could you learn at this year’s Event Buyers Live? The industry event’s education programme is revealed 37 ACCESS FOR ALL DF Concerts’ Louise Hutchison champions the work done to improve access requirements and the event experience for customers 43 NATIONAL TREASURE National Eisteddfod’s Betsan Moses and 2Can Production’s Matt Davies disclose the challenges, changes, and successes of National Eisteddfod 2022 51 NEW SITE = NEW OPPORTUNITIES A new site, new production partners, and sheep poo. Towersey Festival’s Joe Heap discusses the realities of organising the 58th edition of the independent event 54 STARRY NIGHTS

and festival developments 61

Eddie

Running

FEELING THE STRAIN an events business in the current climate is tough. The White Storey’s Matt Storey, gives an open and honest account of where you must balance resources against

Barnsley’s Underneath the Stars festival featured three female headliners. Here, the festival’s Emma Holling and Events’ Barcan, talk gender balance

Splendid

JOE HEAP Joe Heap is the creative producer and festival director of Towersey Festival, the growing music and arts festival in Buckinghamshire. Joe is responsible for project managing all festival elements including infrastructure procurement, artist programming, and licensing. He has worked on the festival for more than 20 years and has a very hands-on role. A leader in the culture sector and a life coach too, Joe talks openly about how his decision to appoint a new site management team, which will free up some time for big-picture thinking and give him space to plot the festival’s future.

HENRY GAGE Henry Gage is founder of Firle Beacon, a new back-to-basics, grass-roots motorsport event that incorporates rally, sprint, and hill climb displays. The Firle Beacon brings together two of founder Henry’s life-long passions – car technology and the South Downs National Park. From as far back as he can remember, Henry has been climbing the dramatic beacon at Firle, and enjoying the views out across Firle Place, the South Downs, and out to sea. A keen collector of “soon-to-be classic” cars himself, the possibility of establishing a new hill climb at Firle immediately appealed to Henry. In this issue, Henry discusses the inaugural event and reveals his plans for its future.

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EDDIE BARCAN

For more than 25 years, Eddie has helped deliver some of the world’s largest and most prestigious outdoor events, working with leading international artists. He founded Splendid Events in 2016 and works alongside existing festival teams or within an organiser role to deliver memorable, high quality and successful events. Wellversed in festival programming, Eddie regularly works with other organisers to secure headliners and advises organisers on their music programming. In this latest edition, Eddie talked to StandOut about Underneath the Stars, a small festival in Barnsley which has made huge leaps in terms of diversity, equality, and inclusion. Eddie, the festival’s programmer, and assistant events manager, discusses gender balance on the festival line-up, as well as site developments and challenges.

n 07 GENERATORS FROM 20kVA TO 2000kVA SYNCHRONISED SETS FROM 100kVA - ROAD TOWS UP TO 150kVA HYBRID POWER - FUEL TANKS - DISTRIBUTION & CABLES TOWER SPECIALISEDLIGHTSLOGISTICS - REMOTE MONITORING - FUEL MANAGEMENT ALTERNATIVE FUELS - INSTALLATIONS - 24/7 SERVICE     Providing Event Solutions for Power, Lighting & Distribution 1982 - 2022 contact 0845 642 T.enquiries@stuartpower.co.ukwww.stuartpower.co.uk166208456421662enquiries@stuartpower.co.uk NORTH EAST NORTH WEST WEST MIDLANDS EAST ANGLIA 57% of us have experienced poor mental health at work*. This needs to change. *Index Insights, 21/22 Scan the QR code or visit mind.org.uk/workplacewellbeing to find out how we can support your workplace.

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Abbott World Marathon Majors and Mass Participation World have launched a campaign called #togetherwemove –which includes free resources and a digital toolkit – to help organisers encourage the world back to mass participation events.

A Greener Festival has launched “A Greener Supplier Kitemark” to provide green suppliers with independent and trusted verification and recognition of their sustainability actions.

Identity has announced key changes to its leadership team. Identity’s founder, Michael Gietzen, steps away from the role of MD to become Identity’s first CEO. Paul Fitzpatrick is the agency’s new MD.

New site layout and all-female team for The Big Feastival 2022

A 70,000-capacity crowd returned to Creamfields North on August Bank Holiday weekend, with a new 20,000-capacity stage called Runway, which was presented by SHEIN.

The Big Feastival 2021 attracted more than 50,000 attendees. Last year’s event went ahead with slightly reduced numbers (1,500 fewer campers) but this year’s event was back at full capacity with 10,000 campers and a licence for 24,999.

The Purple Guide has updated its Chapter on Counter Terrorism. Events professionals are warned to be aware that there is to be a revaluation of all commercial premises next April.

Creamfields joined forces with Lucid Creates to create a “mind-blowing structure and 360 immersive experience” for the festival’s 25th anniversary. The large-scale, industrial truss structure measured 2,000 square metres and featured a 60-metre long video screen, engineered to appear suspended in space over the heads of the crowd. The visual spectacular explored human connection on both micro and macro levels, playing with the audience’s perception of space through dynamic synchronisation of geometric lines, cellular growth, synapse movement, and sonic

Birmingham, Glasgow, Leeds, Liverpool, Manchester, Newcastle, and Sheffield have been shortlisted by the BBC as possible locations to host the 67th Eurovision Song Contest in 2023.

PIC OF THE MONTH

IMG’s Heather Garrett, The Big Feastival’s event director led the team on-site. She said: “We were keen to develop the festival, enhance the festival experience, and expand the customer offer.”

New developments included a new camping offer called Apple Field, a new trader area and Sundown Saloon Stage featuring only BBQ traders, and a new children’s area called Hidden Hollow. Plus, the festival was powered on bio-fuel and British Sign Language was introduced across the site.

Boomtown Fair has sold 45 per cent of the company to Live Nation (18 per cent), Gaiety (18 per cent) and SJM (nine per cent). As part of the deal, Live Nation’s Denis Desmond, UK and Ireland chair, and Stuart Douglas, COO, have joined Boomtown’s board and the board of parent company, Circus of Boom. In a video, Lak Mitchell, director and co-founder of Boomtown Fair, said that the deal was the “hardest thing we’ve ever done”, as he responded to criticism for selling the independent festival’s shares to large-scale commercial promoters. Mitchell said: “When COVID landed, Boomtown lost £2 million and as an independent, we didn’t have funds in reserve; what we had, didn’t touch the sides. We managed to get a CIBILS loan, put staff on furlough, and we received a round of funding from the Culture Recovery Fund. It helped the company stay afloat and helped cash flow.”

Mitchell concluded: “The scariest thing for anyone that runs an event is not being able to pay any people at the end of it. Not having that pressure on us is a massive relief. Now, being in this group and having access to group knowledge means we can look at initiatives and harness clever people. It feels like we are going in the right direction and we’re still exactly who we are. We’re in this for the long run.”

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NEWS IN BRIEF

Bournemouth Christchurch and Poole Council have launched the Poole Christmas Maritime Light Festival.

INDUSTRYvisualisation.UPDATES

When Boomtown’s organising team realised that neither Boom Village nor the 2021 edition of the festival could go ahead, it applied to the Emergency Relief Fund and pleaded to Arts Council England for support but funds were not forthcoming. “We were in this place where our only option was to find some investment and sell shares in the company,” Mitchell added. Boomtown’s founders have retained creative control.

Boomtown Fair director responds to criticism after selling shares to LN and SJM

A new main stage, a new camping offer, and a tweaked site layout greeted visitors at IMG’s The Big Feastival last month. The family-friendly music and food lovers festival returned to Alex James’ farm in the Cotswolds with an all-female team running the show.

Check out the latest event tenders and news of contract wins Arts by the Sea , managed and produced by BCP Council, is looking to appoint an artistic leader to develop the festival’s vision. Interested? Email procurement@bcpcouncil.gov.uk – the deadline is 2pm on September 26.

Identity has won the Transport for London tender to deliver the London’s New Year’s Eve fireworks event until 2025. The four-year contract will see Identity event manage all elements of the world-class show. English Heritage is seeking a suitably qualified event company to deliver the English Heritage Winter Lights 2022 Series. The contract is worth between £200,000 and £450,000. Email catherine.miller-gough@english-heritage.org.uk – the deadline is 4pm on September 16. info@oliverbuggyhire.co.uk

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The University of Leicester is seeking a marquee provider for events, taking place primarily at the main Centenary Square campus. The deadline is 12pm on September 21. Email acm26@le.ac.uk for more details.

Time to pitch

The City of Edinburgh Council has appointed Angels Event Experience to deliver Edinburgh’s Christmas and Unique Events to deliver Edinburgh’s Hogmanay. Blackburn with Darwen Borough Council is looking for an experienced events company to deliver Darwen Town Centre’s Christmas light switch on event. This will include all aspects of creative content, infrastructure, event management and promotion for a family-friendly event programme. The deadline is 4pm on September 13. Interested parties should email peter.hughes@blackburn.gov.uk

National Highways is looking to procure a mobile visitor exhibition vehicle with capacity for at least 10 visitors and space for internal and external displays. The deadline is October 4 –email ADProcurement@nationalhighways.co.uk

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According to Gary Beestone, director of Gary Beestone Associates (GBA), the opening ceremony’s creative team wished the bull to dominate Alexander Stadium. Buckley wanted the bull to stand proud at 14 metres. In the end, the bull measured ten metres high and regardless of its reduction in height, wowed the audience. Good job, as it took Beestone six months to negotiate an area within Alexander Stadium to “cover” the bull prior to its stadium debut. He did not wish to spoil the surprise.

GBA partnered with Done and Dusted and pitched for the ceremonies tender as Birmingham Ceremonies Ltd. They pitched for the contract – to produce and deliver the opening and closing ceremonies –knowing that TV would be central to the overall look. In fact, Beestone said that the process – to set up a dedicated ceremonies business – made sense. “Zoe and I are passionate about events, so we were protective about the experience of those in the stadium,” explained Beestone. “No one would enjoy watching the show at home if they didn’t believe that people in the stadium were having a good time. We had to balance many decisions. For example, how does the creative look down the lens and translate to an audience of 30,000 in the stadium? Zoe was the executive producer, and I was the technical director. We looked at the budget together rather than in silos [producing and technical] and that made a massive difference to the end result. The entire team worked so closely together that we didn’t have to change the show to make it work for broadcast. This meant a better show for both audiences [live and TV].”

The bull – designed and built by Artem –was pulled into the stadium by 50 women representing the female chain-makers of the industrial revolution, who made chains used in the slave trade. The segment later saw the women breaking free from their chains. “What you’re actually seeing is a load of Foamex attached to a 17-tonne telehandler,” said Beestone. “But when you see the women pulling the bull, the whole scene becomes a goosebump moment.”

W hen Misty Buckley decided that she wished to see a huge mechanical bull parading around Alexander Stadium at the opening ceremony of Birmingham 2022, no one envisioned that the bull would get its own Twitter account, or a petition would save it from being dismantled. Public reaction to the bull was so great that immediately after the opening ceremony, a campaign was started to ensure the bull would remain in the city as a tribute. The campaign worked; Councillor Ian Ward, leader of Birmingham City Council, said that the public’s outpouring of love for the bovine creation had cemented its future – at least until the end of September.

12 n BIRMINGHAM 2022 CEREMONIES

The bull was just one of many moments enjoyed by a live crowd of 30,000. But the live audience was not the creative team’s first consideration. Martin Green [chief creative officer of Birmingham 2022] wanted a “broadcast first ceremony”. It was vital that the organising team appealed to a younger audience too. Digital media would play a huge role in audience engagement throughout the Commonwealth Games. “Quite often, broadcasters rock up at a rehearsal with their cameras and take what’s there. If those cameras are present from the beginning, then I think you can look at how best to tell a story,” Beestone continued, who worked on the project alongside Zoe Snow, also a director of GBA.

DOING THINGS DIFFERENTLY

Beestone and Snow surrounded themselves with experienced events professionals who had worked on large-scale opening and closing ceremonies projects. But the team also featured new talent. It was a requirement of the contract to try and recruit as many people from Birmingham and the West Midlands as possible.

The opening and closing ceremonies of Birmingham 2022 wowed audiences across the world. Here, Birmingham Ceremonies’ Gary Beestone, technical director, and Zoe Snow, executive producer, reveal all about the large-scale celebrations, including creative processes, lessons learned, and challenges

Remarka-bull

BROADCAST FIRST

Beestone commented: “The team who had experience of working on large-scale ceremonies enjoyed working with those people who had not done it before. They enjoyed being challenged and being asked: ‘Why have you done it like that?’. It gave the show energy that wouldn’t have existed if we’d just gone to the go to circus that goes around the world. Because we [GBA] could say that we had never worked on a large-scale opening ceremony either, it gave others in the team confidence.” Snow added: “We worked with some incredibly talented people, working with them to figure out what does work, but we also wanted to do things differently. “For instance, we spent the budget in a different way. We didn’t ship people to Birmingham and put them up in a hotel for a year. When we won the contract, we came out of the pandemic and people were working remotely. We brought them to Birmingham when needed and tried to spend the money on the camera and the show in the right places.”

Images: © Getty Images/Matt Wreford

AMAZING BULL

n 13 BIRMINGHAM 2022 CEREMONIES SPECTACULAR FIREWORKS

“We learned to trust our instincts and trusted those who had worked on largescale ceremonies before. We also had to consider that the opening and closing ceremonies were just 10 days apart but 90 per cent of the team were shared across both events. How we balanced their schedules and where we put the priorities was a big learning, but we empowered the team and gave them support.”

“Also, we had an incredibly creative team but the knock-on effect of COVID meant that some of their other shows had been rescheduled,” she said. “It was a constant juggle. It was a case of knowing when to apply pressure and go ‘I really need you’ and giving other people on the project space to work on their other shows so that they could hit their deadlines.”

start of the load in for the closing ceremony to the first act appearing on stage was 22 hours. But what stood out and what did Beestone and Snow learn? Snow said: “We learned where to take risks and about how brave we could be with the storytelling.

LESSONS AND LEARNINGS The opening and closing ceremonies required more than 250 rehearsal sessions – the opening ceremony featured a cast of more than 1,500 and more than 850 people appeared in the closing show. A 32acre off-site rehearsal venue was created at the old MG factory in Longbridge and 159 tonnes of carbon dioxide emissions were saved by powering the rehearsal site with renewable energy. The opening ceremony featured 983 lighting fixtures and 290 kilogrammes of pyro, and the time

Blackout, CW Plant, DeltaLive, PRG, ES Global Solutions, Pyrojunkies, Titanium Fireworks, Total Solutions Group, Stage One, Sunbelt Rentals, ADI, Showforce, and Steeldeck Rentals were just some of the suppliers contracted to the event. “The strength of our supplier relationships was so important to us,” Beestone continued. “It was incredible. At times we had to pick up the phone to someone who hadn’t been awarded a contract and ask for help with crew or LED pixel mapping, or whatever it was. The supply chain was great. Everyone wanted the ceremonies to be good because if they are good, it looks better for all of us and the industry. Our partnerships with suppliers were crucial and it’s what delivered the shows on budget and on time. “That faith also helps when you’re questioning your life choices at 3am in the morning when you’re reprogramming fireworks,” Beestone chuckled.

RELATIONSHIPS

14 n BIRMINGHAM 2022

Beestone is now looking forward to a holiday and intends to “reintroduce” himself to his children. He concluded: “What stood out for me? The extraordinary way people come together to deliver ambitious shows; especially when we had just come out of a period that was so turbulent and unpleasant.

I had braced myself for the impossible but what we achieved was fantastic. Delivering the extraordinary is really fun.”

The minute that Birmingham Ceremonies Ltd signed the contract to deliver the ceremonies, Beestone and Snow met the creative team and explained the “world situation”. It was vital that the organising committee and ceremonies team moved faster than they were used to. The supply chain had to be tied down. Buckley designed the show as the creative was still emerging. This was necessary. Working side by side, Beestone and Snow could ensure that the creative team was supported and that the technical and wider production team got what they needed. Less “creative time” was wasted because initial creativity meetings were held on Zoom, and there was a huge requirement to deliver certain elements of the show quickly because of the need to secure the supply chain.

Snow explained that some of the team had not worked in a stadium environment before. It was important that those new to large-scale projects felt supported.

CEREMONIESfromthe

Martin wanted the opening and closing ceremonies to be quite different and because you’re spending Government money, you felt like you had a big responsibility for how the money was spent.

OPENING CEREMONY HIGHLIGHT

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More than 1.3 million tickets were sold to sporting fans across the globe, making Birmingham 2022 the most attended Commonwealth Games. But it was not the only impressive Games statistic. Accreditation was a “monster” with 70,000 accreditations issued. Plus, there were 14,000 volunteers, including 6,390 from Birmingham and the West Midlands. The Games consisted of 33,000 contractors and the overlay team installed 51,000 temporary spectator seats, seven kilometres of partition wall, 40,000 square metres of trackway, and 54 kilometres of crowd control barrier. Hotel room nights (excluding the five athlete villages) totalled 125,000, 13,500 deliveries were made into Games venues during Games time, 650,000 spectator journeys were taken on shuttle buses, and of the 9,695 COVID tests undertaken by athletes and officials, there were 703 positive results. Of those, following treatment and medical help to enable athletes to compete, only six athletes were too ill to take part in their chosen sports.

Sponsored by GL events n the final day of competition at Birmingham 2022, England won ten medals. The last day of the multi-sport event saw the hosts secure their most successful Commonwealth Games ever with a huge medal haul, taking their total to 176, second overall in the medals table. England’s previous best medal tally was 174, an achievement set at Glasgow 2014. But whilst the athletes’ achievements – on the track, in the pool, on the court, and on the course – are not to be dismissed, the lengths to which the UK’s events industry went to should be celebrated even more.

www.glevents.co.uk n 17 BIRMINGHAM 2022

INTEGRATION

The organising committee (OC) of Birmingham 2022 was “determined to do things differently”. In all, 12 local authorities hosted the sports venues and so the OC adopted an integrated approach to liaison and management, committing to run one recruitment and training programme to ensure continuity. Integration was key to the successful running of the Games, explained Wright. The integration of sport and Para sport was paramount. ‘We were determined to make sure sport was sold as sport,” explained Wright. “For example, when you talk about cricket T20, we sold tickets for cricket T20 and not women’s cricket T20. The sport had to stand out for itself.”

CENTENARY SQUARE SQUARE Images: © Harry Elliott/ events

O England enjoyed huge success at Birmingham 2022 – a mammoth project that required the expertise of UK events professionals to deliver 16 Games venues and a host of cultural sites. Here, key individuals reflect on the event’s delivery

VICTORIA

ADI/GL

Birminghambuzz

BIRMINGHAM 2022 – IN NUMBERS

Despite immense challenges, hundreds of suppliers delivered comprehensive event infrastructure and overlay to ensure that more than 6,500 athletes from 72 countries could compete and entertain thousands of visitors. Operations were a mammoth task, overseen by an army of events professionals. Mick Wright, Birmingham 2022’s executive director of workforce and Games services, oversaw workforce planning, volunteer management and training, COVID planning and response, as well as core operational responsibilities such as catering, cleaning, and waste, and readiness planning, including test events. He, and other members of the executive team –Guy Lodge, senior venue development and overlay specialist, Charles Quelch, executive director of operations, and Adrian Corcoran, chief information officer (technology and broadcast) – plotted to deliver the Games across 16 venues.

SUPPLIER RELATIONSHIPS

According to Wright, much emphasis was placed on collaboration, supplier relationships, and working together. COVID “ripped the heart out of planning time” and impacted vital supplier time. Wright agreed that the tender process was more complicated than it needed to be. It would have been better if tenders were issued, and awarded, earlier, Wright said. But that’s what happens when you deal with a non-departmental Government body –everything takes longer. “I learned that with the time you’ve got, you must make sure that the emphasis you put on people and the plans you have for integration are paramount. When you have limited interactions, you must spend double the amount of effort on comms and making sure everything is understood.” He continued: “You can take things to the wire if you have good plans, good contractors, and resilient people that are prepared to work together. But there’s a difference between scraping through and delivering something that you can be proud of. We had good relationships with some of our supply chain and contractors, but could they have been better? Yes, and could we have got people on board earlier? Yes.”

ADI IN

GREAT VIBE Wright described the Games’ Smithfield site – home of the beach volleyball and basketball 3x3 competitions – as “outstanding”. “People often say ‘build it and they will come’. That’s what happened with this venue – it had a great vibe,” he said.

BUILD GL EVENTS UK TEMPORARY OVERLAY

ADI’s production team, with the help of the JA Productions and OPUS staff, then managed the video, audio, lighting and SFX for not only the key live sporting moments but all the on-stage performances.

The Smithfield Festival Site – delivered by ODP, a collaboration between ADI, JA Productions, and OPUS – sat at the core of a vibrant, open space, with the Commonwealth Games’ beach volleyball and basketball 3×3 competitions taking place around it. Tasked with uniting culture and sport, ADI created a community hub with a bespoke three-sided 210 square metre LED screen and stage structure that played host to an array of digital commissions from across the region. ADI conceptualised, designed and installed the showpiece “Beacon Stage”, which provided a focal point for entertainment and celebration throughout the Games, including a variety of interactive multiplayer games.

FIRST OF ITS KIND Over the course of the Games, Birmingham’s most popular civic squares – Victoria, Chamberlain, and Centenary – quickly became the beating heart of the city centre. Huge crowds gathered to watch the sporting action on the giant LED screen, while the sounds of more than 150 local musicians poured into the surrounding streets from the performance stage in Victoria Square. BEACONACTIONSTAGE

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In transforming the iconic spaces into an environment that aptly celebrated Birmingham’s diverse culture and breadth of artistic talent, ADI designed and managed content for 106 square metres of LED and performance on the bespoke stage design that framed the city’s famous “Floozie in the Jacuzzi” sculpture. This included a totem and multifunctional gantry, the latter of which was used to welcome and inform spectators through creative content, as well as stage the finishing line of the marathon events.

SMITHFIELD FESTIVAL SITE ALEXANDER

Tunnicliffe argued that event suppliers need to educate clients on the importance of design freezes and make them aware of the impacts if freezes do not happen. It’s just one of the learnings that he and the team will take away from the project.

Like Wright, Tunnicliffe also learned that whilst working on Teams is great, you cannot beat human interaction – “boots on the ground is better”.

20 n www.glevents.co.uk 2022

BIRMINGHAM

Wright agreed: “If you take public perception as a measurement, people thought the Games were great. The Games gave the country a boost; the country was ready for a big celebration.”

David Tunnicliffe, GL events UK’s commercial director, explained: “It was a mammoth project and now it’s delivered, there’s a sense of sadness and a sense of relief.

STADIUM

“Ground rules were set from the beginning and the tender process started with dialogue sessions – that honesty and transparency were essential to the safe delivery of the project.”

GL events UK, the events infrastructure specialist, was appointed as the official overlay supporter for the Games with responsibility for planning, designing, and delivering a wide-ranging number of temporary infrastructure services, as part of the turnkey overlay delivery contract. In total, GL events UK provided Birmingham 2022 with three double deck structures and 280 smaller temporary structures across 12 venues. These had to be delivered over a six to 10-week period, and on top of GL events’ core summer“Historically,business.asan industry, you put stress on your core team, and we didn’t want that to happen. We didn’t want our regular clients to know that we were working on the Commonwealth Games; we didn’t want the project to impact them.”

GL supplied media structures, toilets, gantries, cable tunnels and bridges [containment], trailers, showers, and cabins, and all HVAC, flooring, electrics, and fire exits within its tents. Accessibility was a big consideration. In fact, GL events UK invested in a DDA-compliant, aluminium steel frame ramp system because it did not wish to make ramps from wood that would have entered the waste stream. The new system will now be placed into stock for other organisers to hire.

“We took on lots of freelancers and we didn’t train them well enough in the GL way or culture,” said Tunnicliffe on reflection. “We had induction days but not enough and we could have done them better.

Thomas Taylor, head of sales, ADI’s Live Division, said: “We were delighted to showcase Birmingham’s wide array of local talent and create engagement by transforming numerous city centre locations into unique spaces. To see our concepts and ideas evolve into a reality has been a rewarding experience for all at ADI. This bespoke level of live site event delivery has been the first of its kind and has never been done before by the Commonwealth or Olympics. The success of the festival sites proves that spectators do not just come together for the sporting action, but the cultural and community elements.”

“That said, the influence the Games had on the people of Birmingham and emotion around those 11 days of competition was positive and uplifting. It’s nice to feel we’ve been a small part of that and that feelgoodWrightfactor.”concurred and concluded: “It’s been great and it’s rewarding to be involved with something so successful. It’s also been exhausting with all the challenges; it’s been a real ride. It’s nice to be sat on this side of it and to look at what we’ve achieved.”

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34 n www.wernick.co.uk/events

TEMPORARY STRUCTURES Events

Tunnicliffe explained that GL events’ books are closed for September to give the team enforced breathing space off the back of delivering temporary overlay at Birmingham 2022. He also said that the events industry may have to look at the flexibility in pricing strategies because some prices being paid are “not fair at the time of “Wedelivery”.pre-booked our crew with agencies for a set price,” Tunnicliffe said. “But in April those agencies said that they could no longer supply crew at those prices. They said: ‘Sorry, it’s force Majeure.”

PRICE INCREASES

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Access for all

LOUISE HUTCHISONTRNSMT

Please explain the different access requirements that you implement and how they differ from site to site? Our biggest event is TRNSMT in Glasgow Green. In 2021, we were awarded Gold status by Attitude is Everything and were the first Scottish festival to achieve this, which I am incredibly proud of! For each site that we go to, be it a large-scale event in Glasgow Green or Bellahouston Park, or a smaller capacity show at Edinburgh Summer Sessions, I always try to follow the targets set out by the Gold award to keep a level of consistency across each of our outdoor shows.

How big is the accessibility team at DF Concerts and how many events have you worked on/been responsible for this year?

Our accessible team is small but mighty and consists of myself and Nina Kranewitter, access assistant. This summer we had the support of freelancers such as Holly Milloy on the shows that clashed on the same dates such as Harry Styles in Glasgow, Noel Gallagher in Dundee, and James in Edinburgh. I have been responsible for the accessible design, planning, and operational management of nine stadium shows, including The Killers, Harry Styles, Liam Gallagher, Calvin Harris, Gerry Cinnamon, and Coldplay, as well as our festivals TRNSMT, Dundee and Edinburgh Summer Sessions, the inaugural Connect festival, and The Big Top.

Is demand for accessible facilities increasing? Yes, demand for the use of accessible facilities is most definitely increasing. Across this summer, I have spoken to many people who have been surprised that they were eligible to apply for the accessible facilities on-site and surprised that festivals can provide a level of support to ensure that they feel confident and comfortable attending an event with a disability. This ultimately results in those customers having a newfound knowledge of support available and then attending more live music events in the future. You learn as you go and need to be adaptable to go above and beyond for customers who may have more complex requirements.

n 37 DF CONCERTS

How have you increased or improved access provision on events this year? After achieving Gold status in 2021 for TRNSMT, 2022 was more about maintaining and developing ideas from the previous year. Working on the Coldplay show at Hampden was an eyeopener on what is possible to create a more inclusive and accessible event.

For each show, we have an accessible facilities survey that asks customers a range of questions about their requirements for attending, such as an accessible viewing platform, accessible toilets, Blue Badge parking, assistance dogs, medication stored in a fridge, British Sign Language (BSL) performance interpreting, wheelchair charging, or a free Personal Assistant Ticket. We have a great working relationship with PAMIS and their changing places van, Pamiloo, which allows us to provide a suitable toilet for those with the most complex needs. This year at TRNSMT, we were fortunate enough to have both Pamiloo and Mobiloo in attendance allowing both general admission and VIP customers access to the most accessible toilet on site. At TRNSMT, we have a wellbeing area that is situated close to the first aid and medical tent. This allows customers the opportunity to break away from the main festival crowd if they are overwhelmed or overstimulated. On smaller sites, we work with our welfare teams to create a quiet area that would be most suitable. We also ensure that we have first aiders and welfare team members who are Mental Health First Aid trained. We implement an accessible customer service team that acts as runners for our accessible customers on the accessible platform – getting food, soft drinks, tea and coffee, and merchandise. At TRNSMT, we also have a bar situated at the accessible platform that will only serve those on the platform.

Louise Hutchison is the CRM and accessibility manager at DF Concerts and has a passion for equality, diversity, and inclusion. Here, she champions the work that the promoter and event management company has done this summer to improve the live music and event experience for its customers

This year, we improved our Accessible Information Guide that goes out to all our accessible customers, which is a detailed 12-page PDF that breaks down accessibility across the whole site. We also captured more photo and video footage of the site, expanded signage and briefings for staff on invisible disabilities and included this within our staff training handbook.

What stands out about your job? My job is incredibly rewarding. It takes a lot of planning to ensure you’re getting things right, especially so those who are the most vulnerable members of society can experience live music to its fullest. Standing back and watching everyone enjoy themselves at the end of the night is a very special moment. What lessons have you learned this season and how do you plan to improve access facilities for 2023? Information is key. The more information you can provide to accessible customers to help them make the decision to attend an event is crucial – photos, maps, and video footage are different formats of access information. In addition, listen to customers with disabilities about what would make things easier for them to attend. A simple conversation can make a huge difference to a customer’s experience. Looking to 2023, we are planning to have more photo and video footage available online for the venues that we regularly put shows in. This will assist those who have never attended events there before. We will do this alongside working with different disability charities to improve accessible customer experiences.

38 n DF CONCERTS

We are consistently listening to and learning from customers on ways in which we can improve accessibility at our events. This year, I wanted to get more feedback and shared experiences from disabled customers and have been working with organisations that represent different disabilities to create information documents and engaging videos for our website. As well as this, we have been working with Gig Buddies for a couple of years. We are working to create an exciting piece of footage that will be tailored for those with learning difficulties who want to attend TRNSMT to set their expectations, alongside tailoring information to those who have a mental health condition.

It was great to hear feedback from customers on the tour’s inclusivity initiatives and their use of the Subpac suits, BSL performance interpreters, sensory backpacks, and a touch tour for those who are blind or have low vision. It certainly set a high standard and demonstrated to accessible customers that events can be truly accessible to all.

ASSISTANCE DOGS

How have you evolved your access provision?

HELPING PEOPLE EXPERIENCE LIVE MUSIC

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This year, as part of the event’s education programme, DEI will be given a high profile, alongside welfare and sustainability. A team of brilliant industry ambassadors will be there to support that process, and alongside the EBL team, will aim to make EBL22 the most inclusive place to do business.

40 n

At different times and in different settings, these characteristics interrelate differently.

As an industry, we need to start to effect change, tackle the lack of diversity, and start to become a more inclusive space to attract and retain the best people.

Addressing the diversity of your team will have little value unless you also tackle inclusiveness in your workplace.

DEI JOURNEY

HOW DIVERSE IS YOUR TEAM?

SEE IT TO BE IT British diver Tom Daley carried the Queen’s Baton into Alexander Stadium to highlight the fact that in some Commonwealth countries, it is illegal to be LGTBQ+ and in two countries, it carries the death penalty. Furthermore, the jubilant England women’s football team recognised the lack of diversity among the players. It’s not a new term but one of the presenters commentating on the competition said: “You’ve got to see it to be it”. Diverse and inclusive teams and workplaces attract the best people. They retain their people longer. They are more productive. They are more innovative, more profitable, and more resilient.

A LITTLE ADJUSTMENT

The events industry relies heavily on networks to find employees, freelancers, and contractors. Those networks tend to be based on historic connections and relationships. In a sector where there is limited diversity, it is likely that a lack of diversity will perpetuate.

E vent Buyers Live (EBL) will focus on some key themes this year – diversity, equality, and inclusion (DEI), staff welfare, mental health, and sustainability. At a time when our industry is still rebuilding itself after the pandemic, suffering acute staff shortages, tackling daily supply chain challenges, facing exponential price rises, and the prospect of a looming recession, why are any of these topics important? These themes are important because they hold some of the answers to how we survive and thrive as an industry.

Proud Events is a small production agency. We work on big and complex projects all over the world. We are far from perfect, but we have created a diverse business and we are increasingly inclusive. It can be done.

www.eventbuyerslive.com

For 2022, Event Buyers Live wants to highlight the importance of educating ourselves so that we become a more diverse and inclusive industry to be a part of. The Event Buyers Live team has been working hard to educate itself and has been thinking about the changes it can make.

The event will be fully accessible, and information on the website provides details of the environment, nature, and flow of the event to help people achieve the best outcome for themselves and their businesses. Additional support is being offered to help people tailor their programmes around their personal needs and provide additional support.

Demystifying DEI DIVERSITY, EQUALITY, AND INCLUSION

Look at your largest work-related network. This might be LinkedIn or another online platform, or it could be your phone contacts. If you were looking to fill a role, who would you contact? How diverse is this pool of people?

A simple example of equity in a workplace might be adjusting work hours for an employee who has childcare or caring responsibilities. This might be the ability to start later, leave earlier, or undertake some work from home outside core hours. The sense of belonging is creating a culture where this is seen as normal, and that parents or carers are not being “set apart” from other colleagues. The pandemic changed much of the way we think about our work and workplace. Employers are learning to value the contributions employees make to the business rather than the hours they work. Again, I hear people say that “the events industry is different”, “we must be on-site”, or “we can’t flex our hours”. It simply isn’t true. Within Proud’s core team of six people, we have three parents and one carer. We make it work. Yes, it requires planning, adjustment and thought. Yes, parents get priority for leave during school holidays. Yes, we adjust hours so people can do school runs, parent days, and hospital appointments. That’s how we started the business and we’re successful at what we do.

So, what do all these terms mean and what’s their impact? At its simplest, “diversity” is all the ways in which people differ. Some of these differences have legal protections. For example, race, gender, age, physical and mental ability, and other characteristics have laws protecting people in work, and other settings, from being discriminated against. These characteristics and parts of our identity interrelate. So, for example, I identify as a man, have white heritage, am gay, am married, have both physical and mental health conditions, and I’m a part-time carer.

In addition to this, the panels, roundtables, and informal discussions will challenge and provide a safe space to learn, develop, and grow. DEI is not simply a focus for 2022. It is an ongoing journey and one that I am happy to support.

The business case for inclusion and diversity is stronger than ever. For diverse companies, the likelihood of outperforming industry peers on profitability has increased over time. In fact, recent research indicates that diverse and inclusive workplaces can be three times more profitable. Our industry has a problem with diversity. We lack it. In a world of staff shortages, tight margins, and a need to be highly innovative, it’s a big problem that will only get worse. But while economic drivers may force us to make changes, DEI needs to be driven by a recognition that it simply cannot continue as it is. We need to educate ourselves and make real change because society has moved on and we lag.

In 2020, Proud Events was looking to appoint a new employee. We contacted organisations outside our usual network for help in sharing the vacancy. That opened a whole new pool of talent. It gave us access to applicants whom we would never have found and opportunities for them they would never have known about.

Inclusiveness is that sense of belonging. That your differences do not set you apart from others in the business. They are recognised and valued and have no influence on your ability to contribute, succeed, or progress. We often hear people say: “I treat everyone equally”. But equality and equity are not the same.

But what do you know about your team? How diverse do they look? How diverse are their lives? How diversely do they identify themselves? If your team lacks diversity, why do you think that is? As a leader in your business, you are likely to shape the culture.

Ben Whur, director of Proud Events, and Event Buyers Live’s diversity, equality, and inclusion (DEI) advisor, addresses why DEI is important and poses some questions that every event business should ask itself

The UK has hosted some incredible events in recent weeks. The Commonwealth Games, hosted so brilliantly by Birmingham, was a fully integrated event. The organising team committed to ensuring that every athlete, regardless of their ability, had the same experience on and off the field. The volunteers demonstrated the diversity of the city. The UEFA Women’s Euro 2022 catapulted women’s football into the limelight and the triumphant final for England’s team was viewed by one of the largest ever Wembley audiences for any sporting event. But with these great achievements, there remain challenges.

BEN WHUR an industry, we need to start to effect change, tackle the lack of diversity, and start to become a more inclusive space to attract and retain the best people

DIVERSITY, EQUALITY, AND INCLUSION

wwww.eventbuyerslive.com n 41

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How does a festival successfully blend tradition and modern culture? National Eisteddfod’s Betsan Moses and 2Can Production’s Matt Davies discuss the challenges, changes, and successes of National Eisteddfod 2022

EISTEDDFOD

n 43 eld during the first week of August each year, the National Eisteddfod is a celebration of the culture and language in Wales. The large-scale festival travels from place to place, alternating each year between north and south Wales, attracting around 150,000 visitors and more than 250 traders and Traditionallystalls.a competitionbased festival, attracting more than 6,000 competitors skilled in poetry, dance, music, and art, the festival has developed and evolved, and whilst the competitions form the central focus for the week, the Maes (site) itself has grown and developed into a vibrant festival with hundreds of events and activities for the whole family. The 2022 edition of the festival was no different. It was important that the National Eisteddfod came back with a bang. The annual festival had not taken place in a live/physical setting since 2019. Betsan Moses, chief executive of Eisteddfod, took a break from paying bills and invoices to talk to StandOut about this year’s outing in Tregaron, Ceredigion. She explained: “After two dormant years, we wanted a celebration. We began the Eisteddfod with traditional Welsh hymn singing before inviting people to join a lantern procession that led to a big circus performance.” It was the first time that National Eisteddfod had produced a large event to “open” the eightday festival. The circus show was supposed to have taken place on two nights, but rain stopped play on the first “Eisteddfodevening.is a safe place to uncover the alternative,” she continued. “We have never featured such a show before but moving forward, we will definitely develop the programme. H NATIONAL EISTEDDFOD

NATIONAL RETURNED

All eyes Eisteddfodon

The organising team opted to cap ticket prices at £20 so that visitors could experience Welsh language culture for a reasonable price.

“We’ve seen a huge surge in costs since 2019, with the price of everything, from fuel to inflation and from materials to buildings rising dramatically,” Moses continued. “We know it’s a difficult time for everyone, so we kept our ticket prices the same as the Conwy County Eisteddfod back in 2019. We believe that everyone should be able to access Welsh language and culture, but then how do we tally that as an organisation. We are a business, but if you want to put on something exceptional, there’s a cost.”

DEVELOPMENT AND COMMUNICATION

44 n “Eisteddfod is continually changing because it’s important to push boundaries, but how do you ensure that you develop? We must provide people with the opportunity to experience modern Welsh language culture.”

DELIVERY AND OPERATIONS

According to Moses, if you work on a festival, you don’t have a job title, you just do what’s needed. During the event, she got stuck in, addressing challenges. For example, 10 days prior to the festival opening its gates, the event’s big top provider pulled out. Five hours later, three big tops had been sourced, each for an almost three-week hire period. It was not an easy task, but one that Matt Davies, director of 2Can Productions, was charged with sorting out. In 2019, 2Can won a three-year contract to procure suppliers, deliver the event, and run operations at Eisteddfod. 2022 should have been 2Can’s third year but instead, it was the company’s first year at the operational helm.

NATIONAL EISTEDDFOD LIVE MUSIC AT EISTEDDFOD

For the first time, visitors could print Maes tickets from home or use their smartphone to enter the site. This was part of a new sustainability strategy, which saw the Eisteddfod pioneering sustainable event practices whilst conducting a sustainability audit. But that was not the only change. A new online artist liaison and accreditation process was implemented and will be further embedded in the future. Moses added: “We have 1,000 events on site, and we have more competitions than Urdd Eisteddfod. Plus, we have satellite events. We had to think: ‘How do we communicate effectively and not duplicate tasks or information?’ and we wanted a way to reduce the potential for making mistakes. “We also had to think about how we developed our website and how we could use it more effectively. For example, within the backend, how could we make life easier for ourselves? Also, how could we incorporate what we learned during those two years of a digital Eisteddfod? What were and indeed, what are the needs of a modern festival? It was a massive piece of work and cracking that was huge.”

Davies commented: “Because of the Eisteddfod’s location, we had more people staying on site than normal. We had almost 1,200 caravans on site, but we had to get contractors in to round off some of the corners on the road networks and do advance work on the roads. We also had to access some of the site via a school playing field so we had to wait until the school shut for the summer holidays before we could use that access point. Plus, we had to put in pedestrian bridges over streams so that visitors could access parts of the site.”

BELIEF IN THE BRAND

Approximately 6,000 cars were parked on site daily and there were 1,250 caravan pitches all with power hook ups. The festival comprised 70 generators, 60 towerlights, 36 kilometres of cabling, seven kilometres of festoon, 60 cabins/containers, 85 temporary structures (of varying sizes and types), 9,250 metres of heras, 4,250 metres of pedestrian barrier, and 3,100 trackway panels.

SUPPLIERS LIST

Davies continued: “One other consideration this year was the proximity of the site to built up residential areas. It was a lot closer than in previous years. We spent a fair amount of time working with local authority regulatory services and Acoustics and Noise, our independent noise consultant, as well as looking at types and direction of PA systems. We utilised cardioid subs and we also had to consider the noise of generators, which were running for 24 hours, and the noise vehicles made when driving along the trackway.” But what stood out about Eisteddfod 2022? “A lot of people come to the event, but people come for different things,” said Davies. “Some come for the live music, and some come to watch the competitions and don’t step in front of the outdoor stage. The event attracts a wide variety of people and that’s just great.” Moses concurred. She concluded: “After three years of no live event, I learned that if you build it, they will come. As you walked across the site, you could see so many happy faces and so I know there’s belief in the brand. Now, we must go back to the drawing board and start planning for 2023. Eisteddfod is local, it’s regional, it’s national, and it’s international; we have to showcase the area and our new location each year and also appeal to an international audience. And, if you stand still, you get stale.”

46 n NATIONAL EISTEDDFOD “The supply chain and availability of kit was a struggle,” Davies said. “We had companies drop out at the last minute, but we managed to source three big tops with 24 hours’ notice. Traditionally, Eisteddfod has had some big square looking marquees on site, but the thought was that big tops would introduce more colour. “Also, we couldn’t find one supplier to provide all the toilets and showers. We were lucky that we had booked lots of our suppliers pre-COVID and kept in touch with them during the pandemic. But, for example, our toilet provider came back post-COVID and said: ‘We can’t do the job’.” Davies was assisted on site by Llyr Jones, production manager, Mark Jones, site manager, and Miriam Plassmann, site coordinator. They worked hard to deliver the Maes in a tricky location: Pretty much in the middle of nowhere with narrow access roads. So, it was imperative that the site’s access issues were communicated to every driver and contractor in advance of the build.

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People are generally choosing to keep their options open by buying tickets much closer to the event. And as for ‘early birds’,” we can’t take them for granted – buying a ticket these days is more of an option than a commitment, and there’s no guarantee they will attend.”

FRESH THINKING Zac Leigh, co-founder of Tixel, the ticket resale marketplace, believes that organisers which are thinking differently about ticket pricing, ticket rules, communication, selling periods, and marketing are standing out. Those organisers which have adopted fresh thinking are the ones making headway.

Several organisers are implementing new ticketing systems in a bid to streamline processes, increase efficiencies, and connect with their audiences. The sector talks the ticket

Just

Leigh continued: “The sales cycle for events across the board is wildly different these days.

According to Martin, NFT ticketing gives the organising team greater control. Blockchain tech eliminates the risk of ticketing fraud, with organisers able to gain control over primary and secondary ticket sales.

COVID showed consumers that they could expect a whole lot more flexibility in their purchases, such as flexible policy changes.

48 n www.theticketsellers.co.uk TICKETING Sponsored by Ticketsellers L akefest has partnered with MetaFests, a Web 3 services specialist, and NFT ticketing marketplace, SeatLabNFT, to become the first music festival to fully switch to next-generation NFT tickets for all attendees in 2023.

Lee Martin, Lakefest’s founder and director, has appointed MetaFests to harness emerging NFT and blockchain opportunities for the festival, which celebrated its 10th edition at Eastnor Castle thisMetaFestsyear. has an exclusive partnership with UK-based SeatLabNFT to provide NFT ticketing and merchandising technology that enables fans to enjoy a “more immersive, connected festival experience”. The festival’s 2023 edition will be entirely ticketed using this new technology with tickets going on sale in early September. Martin said that the new move will enable more effective connections with the Lakefest audience. Plus, he said it will streamline operations and harness new revenue streams, which is great timing, as the festival wishes to increase capacity in 2023 from 15,000 to 20,000.

The most proactive ticketers and event producers have followed suit and built more flexibility into their offerings to cater to this newThisconsumer.year,Tixel’s SafeScan technology was implemented at Boardmasters, El Dorado, and End of the Road to allow tickets to be validated and re-issued on the back-end prior to actual tickets being issued. This enabled ticket trading between festivalgoers to take place easily and safely. Plus, the company worked with 2000trees, Silverstone Woodlands, and ArcTanGent, as well as NASS and Bournemouth 7s. ArcTanGent, El Dorado, and End of the Road were new contracts for Tixel. 2022 was certainly a busy year, as several organisers chose to look at their ticketing processes and contractors. Underneath the Stars and The Classic at Silverstone appointed new ticketing suppliers, National Ice Centre rolled out Halo V2 ticket scanning, and Blackpool’s Winter Gardens appointed Mediaworks to help move all its ticketing operations in-house.

BOARDMASTERS North

GAIN CONTROL All Lakefest ticketholders will receive an NFT wallet, a kind of digital interface with the event, to purchase and store their ticket. To elevate the ticketing experience further, everyone who purchases a ticket will receive a digital collectable to recognise and reward their attendance, with an item that can be traded amongst collectors long after the festival has finished. For example, festivalgoers could also use them to redeem on-site perks such as VIP upgrades, merchandise, food, drink, or meet-and-greets.

www.theticketsellers.co.uk n 49 TICKETING Sponsored by Ticketsellers

“Organisers want to digitally engage with audiences, guarantee safe venue operations, and create a secure and fairer way for customers to buy and sell tickets,” Hornby explained. “Digital ticketing is helping them to address all of these.”

DIGITAL TICKETING

“Also, sell early. I’m surprised that more event organisers don’t sell tickets earlier. There are still those who will finish their event, take a break, come back, start planning next year’s content and then think about going on sale. My advice is to leverage the moment. Start to build your audience for next year’s event based on this year’s performance rather than start from scratch later on.”

According to David Hornby, Secutix managing director for Northern Europe, UK and Ireland, demand for digital ticketing is increasing. Organisers recognise that the switch from paper to smartphone tickets can solve many of the problems facing the industry, from ticket touts to security. But there’s also a desire for digital engagement.

DAVID HORNBY LEE MARTIN

ZAC LEIGH content behind a paywall and monetise it during the period between the live events?

TAILORED TICKETING

DATA AND DIGITAL EXPERIENCE

Organisers need to start thinking about building a hybrid digital experience.

Whilst End of the Road chose to work with Tixel on ticket resale, the organising team also opted to work with TicketSellers, which provided a tailored ticketing and onsite gate management system.

Secutix recently worked with the Royal Edinburgh Military Tattoo 2022. After two years of cancelled events due to the pandemic, The Royal Edinburgh Military Tattoo came back in August with a bold and exciting vision for the future. Secutix’s tech solutions were deployed to ensure a smooth ticketing experience. Hornby added: “The organisers wanted a new ticketing technology partner that could help them achieve their ambitions both domestically and internationally, get closer to their guests through data and continue to deliver the best possible customer experience.”Secutix’smobile ticketing solution, TIXNGO, delivered secure digital tickets through a new Tattoo app. This was the first time the event used secure mobile digital ticketing.“OurS-360 platform featured a 3D interactive seat map allowing guests to view, compare and choose their seats using a virtual, 360-degree panoramic view of the iconic Edinburgh Castle Esplanade,” Hornby commented. “The platform sold the new five-tier membership scheme, hospitality packages, and, as a registered charity, processed charitable donations to theHornbyTattoo.”believes that organisers could give more consideration to ongoing relationships with audiences. For example, organisers could connect more and beyond the live experience. He advised: “What can you do with older content, how can you use streaming services, could you put

Rhys Cadogan, commercial director at TicketSellers, said: “TicketSellers has invested heavily in its on-site operations, including new equipment that allows us to provide the quickest possible ingress solutions. We have also increased our pool of talented operators, managers, and tech experts. 2022 has seen an outcry for talented staff and experience. This investment sees TicketSellers strengthen its position as the leading provider for on-site deployment and experience.” The ticketing specialist also supplied the independent festival, Secret Garden Party, with ticketing services. Cadogan continued: “Being members of the Association of Festival Organisers and proud supporters of the Association of Independent Festival, TicketSellers has always had independent festivals at its core and has an established position as the ticket agent of choice for many independents. TicketSellers was chosen by Secret Garden Party for its experience within this sector and its understanding of its complexities.”

We look forward to working with you again soon We look forward to working with you again soon #wemakeevents

don’t think I have ever discussed sheep poo on an event site, but they do say there’s a first for everything. Joe Heap, festival director of Towersey Festival, is showing StandOut around Claydon Estate in Buckinghamshire, Towersey Festival’s new home. The estate’s flock of sheep left the site eight weeks ago but the severe drought conditions – experienced by many organisers – have meant that not all the sheep poo has not been washed into the ground and filtered away. It’s an issue that Heap feels he may have to raise with his audience of loyal festivalgoers that are excited to be back at the muchloved event. It’s been three years since the festival took place, and this is just one of the challenges that Heap has had to face, alongside the many operational and production changes. In 2019, Towersey Festival announced that it would be moving to a new site in 2020, but COVID hit. “We created a festival ready to go in 2020 and that was scrapped,” Heap explained. “Then we thought we’d relaunch in 2021 but that didn’t go ahead. Then, we looked at creating a scaled back, COVID-safe version of the event and so we created a site plan for that. That was scrapped too. The financial risk was too much. We made the decision to play it safe and cancelled the 2021 event.”

Towersey Festival’s new Buckinghamshire home – Claydon Estate, Steeple Claydon – is a country estate and venue with an historic courtyard. The estate’s many acres and picturesque setting appealed to Heap and the Towersey team. Heap commented: “We moved because the old site was not available in the longterm but more importantly, we wanted beautiful surroundings. The old site was pretty boring, and we had to create the atmosphere. At Claydon Estate, the site is stunning. At the old site, we had to piece many fields together. Here, we have a lovely open space, dotted with ancient woodland.”

“We’ve pulled out all the stops to try and deliver on all the things we said we’d deliver on, and we’ve done about 98 per cent of them,” Heap continued. “We’ve made a lot of changes, which has made for an enormous amount of work, but it will be worth it. There are new activities on site, new team members, and production partners and that’s a big change for us.”

One Big Star has been a supplier of Towersey for several years but now manages stage production whilst Engine No 4 runs site“Aoperations.lotofpeople on the outside might say that our reason for bringing in a production partner is expansion,” Heap added. “It’s more about restructuring and it’s mostly about me being able to have a bigger overview of the event rather than being so hands-on.

A new site, new production partners, and sheep poo. Joe Heap, Towersey Festival’s festival director, discusses the realities of organising the 58th edition of the independent festival back

JOE HEAP Sofer

Images: © Phil

www.simpliwifi.agency n 51Sponsored by SimpliWifi TOWERSEY FESTIVAL

The new site has enabled Heap to expand, create new areas, and offer festivalgoers the opportunity to experience new activities such as mindfulness and wellbeing workshops, forest schools, and Tai Chi.

Bouncing

BIG CHANGES

Heap described 2021’s cancellation as heart-breaking but necessary. So, how does it feel to be finally going ahead after three years of nothing? “I have mixed emotions,” Heap continued. “There’s excitement to be back, apprehension because it’s been so long, and exhaustion because it’s been a while since we’ve done an event, but we’re here and it’s good and it’s exciting.”

CHALLENGES Towersey Festival has bolstered its stage production and event management team.

Sponsored by SimpliWifi more monitoring though, and plan to further reduce our fuel use.” He added: “It’s been, without doubt, the toughest year on record. My focus is to develop our sustainability policy further.

SUPPLIERS LIST Temporary structures – Pro-Aktiv, Albion Woods, and Oxford Marquees

“There’s one massive debrief to come for sure,” he explained. “We’re not using HVO this year, but we are looking at alternative fuel sources and running certain areas on renewables in 2024 and then all areas by 2025. We are doing even

LOOKING AHEAD Heap believes that ticket prices will have to go up by around 35 per cent for 2023. He does not see another way forward if cost increases are to be addressed and books balanced. He concluded: “Our hardcore audience will be OK with that I’m sure and will continue to support what we are trying to do here. Yes, we might sell fewer tickets, but at a higher price, and we must live with that if we want the festival to survive.

“In general, I think the festival model will change over the next few years because audience habits have changed and industry as it is at present is not sustainable. Costs are outstripping income at an alarming rate. I think festivals will have to really deliver quality to attract an audience prepared to pay for that. That might see a few more disappear sadly. But bring on the challenge, I say.”

Toilets and showers – JB Event Facilities Power – Flying Hire Internet and comms – SimpliWifi Radios – DCRS Trackway – GT Trax and Autotrax Fencing – Hire and Storage Portable buildings – Wernick Events Accreditation – Eventree Waste management – Grundon A NEW SITE

52 n www.simpliwifi.agency TOWERSEY FESTIVAL

AND LAYOUT

BIGGER PICTURE This year’s appointment of Engine No 4 means that Heap can step out from behind his desk, backstage, and check out the various elements of Towersey that he has worked on. Plus, he hopes to grab some time for Tai Chi and coffee so that he can think about this year’s achievements, and look ahead to 2023.

Having signed up to Vision: 2025, we would like to look at travel impacts and energy generation much more closely. I want to explore the balance between the carbon being saved because cars are parked on our site for four days against what those cars would have emitted. What would be the carbon impact if they were driven around town etc for four days? I want to compare that to being parked up on a festival site.”

“We’re a tiny event in the grand scheme of things and we’re family-run with a small but dedicated team. There’s no danger in us expanding into a huge commercial enterprise, but I just needed support on the production side of things so that I could take a step back and focus on developing the event in the right way.” Engine No.4’s Max Cairns is site manager and Louise Renn is operations manager. Andy Pinnock is responsible for the build and break, Edward Fisher is health and safety manager, and Mary Hodson, Heap’s younger sister, is the festival’s project manager. Together, they are working hard to pull out all the stops and deliver the festival, which at the time of writing is eight days away. So, what have this year’s challenges been?

“Supply chain issues have been everyone’s problem and have led to some serious extra hours to find what we needed,” Heap said. “Our site is on the HS2 and East West Rail patch and the hugely disruptive works that they are doing have caused us all manner of logistical and travel concerns. But the biggest issue of all is the increase in costs. These have far outstripped the price of the tickets, which we set over 18 months ago. This effectively means that for the first time in our history, we will be operating at a loss. Like everyone else, we will adjust next year, but rocketing, inflation-busting increases have made things very tricky.”

n 53 Big Tops From 1,000 To 17,000 Capacity From Traditional To The Latest In Tensile Design We cater for Private functions • Music festivals • Religious events • Corporate entertainment • Fashion shows • Exhibitions Please visit our website and see the selection of big tops we have available for hire www.ajbigtophire.com Tel: 01733 222999 Email: sales@ajbigtophire.com Email: admin@ajbigtophire.com We would like to thank The Arts Council England for their help and support through the Pandemic. Celebrating 25 years in the events industry

54 n UNDERNEATH THE STARS

STRONG FEMALE PRESENCE

EFFICIENCY OVER AESTHETICS

The festival’s accessible camping field and accessible facilities sit at the heart of the festival site, which featured a new layout for 2022. This year’s festival consisted of two covered stages, located at the bottom of the festival site, which is on a small slope. “When we moved to Cinderhill Farm, three years ago, the big tops were at the top of the field and the access road was at the bottom,” explained Barcan. “It meant there was a crossing point between pedestrians and production traffic. In 2021, we redesigned the site and ran with one stage. For simplicity, we opted to have the stage at the bottom of the field and near the production run. “This year, Underneath the Stars reverted to two stages, and we decided to keep both at the bottom of the field. Initially, when the festival moved, we designed the site on aesthetics. Now, we’ve opted for efficiency. It means we must be more creative in terms of site layout to make the site as playful as possible for the customer, but it’s worth the extra effort to achieve those efficiencies.”

Eddie Barcan, director of Splendid Events, is Underneath the Stars’ assistant events manager and has responsibility for programming the small festival. Emma Holling, director of Underneath the Stars is managing director of Pure Records, which manages Rusby. “One of the festival’s headliners would always be Kate,” explained Barcan, who is also Kate Rusby’s festival booking agent. “Thanks to COVID, I had rolled over Suzanne Vega and because I had two female headliners, I would have been happy to have had a Barcanman.”put the feelers out for artists. Imelda May was touring. Barcan continued: “I remember thinking that having Imelda would make three female headliners and then thinking that another promoter wouldn’t care if it was threeAccordingmen.” to Barcan, Underneath the Stars’ bill is “consistently balanced”. It makes sense to reflect your audience and the music they listen to, he said, as he showed StandOut the festival site. Furthermore, four of the seven members of the festival’s core team are “Despitewomen.being a smaller, regional family-friendly festival, we have shown that achieving gender balance at festivals is possible,” Holling told StandOut. “We are a female-led team with a very strong female presence below this, and we share this ethos across our wider Underneath the Stars family. From our volunteers to food and drink vendors, the family workshop activities, as well as a gender-balanced line-up of music artists, inclusivity is at the festival’s core.”

E arlier this year, a BBC study found that only one in ten headliners at the UK’s top music festivals were women. This was despite several organisers openly promising to achieve a 50/50 gender balance across their line-ups in 2022. BBC research in 2017 found that 80 per cent of headliners were all male. As a result, two major projects were launched –ReBalance and KeyChange – with the sole aim of getting more female acts on stage. Some promoters have said that it’s unfair to blame them for the lack of diversity. Others have done something about it. In July, Underneath the Stars welcomed more than 3,500 festivalgoers to Cinderhill Farm, Barnsley to enjoy an all-female headline bill featuring Imelda May, Kate Rusby, and Suzanne Vega.

SITE CHANGES AND SUSTAINABILITY

This year’s festival featured several changes, including extra camping space for guests with live-in vehicles, increased glamping options, the addition of a bar in the camping area, a second bar in the main arena, a new camping area for traders, streamlined volunteer management processes, a new box office system, and the introduction of a “dance” area in front of the main stage. Underneath the Stars may be a small festival but it’s a big champion of diversity. Here, Emma Hollings, festival director, and Eddie Barcan, head of programming and assistant event manager, discuss event developments, accessibility, an all-female headline bill

Shining example

Underneath the Stars champions diversity, and accessibility; the festival has an Attitude is Everything (AIE) Silver Charter Award. Holling believes that people are coming to the festival because the festival’s reputation for accessibility is high.

This year, the festival 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. The festival’s ethos has always been to create and develop a gender-balanced music bill across all content and stages, representing a wide range of artists and musical styles – from ska, folk, and soul to brass bands, indie and Americana.

“Whilst we’re a small festival, there’s a lot of attention to detail and a lot of professionalism on site,” said Barcan. “It’s disproportionate to the size and the profile of the event, but it’s also one of the reasons why we have a NOEA Award and AIE Silver. Our production values are high, and it just shows you can do things well even if you are a small Hollingfestival.”andBarcan are assisted on site by Glyn Lea-Jones, site crew manager, Pete Sharman, director and production manager, Andy Smith, campsite manager, Moira Fitzsimmons-Holling, accessibility and safeguarding manager, Fee Fitzsimmons-Holling, festival administrator, and Lizzy Dickinson, event safety advisor. Attention has already turned to 2023. Holling wishes to tweak the site’s guest bar areas and merchandise tent. She also wishes to make the top corner of the site, an uphill area, more of a “destination”. Plus, there’s more work to be done on festival sustainability with A Greener Festival. This year, the festival team has monitored and measured things such as waste and power usage. In fact, it’s one reason why the festival changed its waste contractor this year. The old waste contractor was not giving Barcan and the team waste data, so a new supplier was contracted. Holling said: “When you work in a creative environment, you look for creative solutions. Measurement is all about spreadsheets, it’s boring and at odds with creativity, but you do need both. Imperfect action is better than not doing anything so we will have a strong sustainability drive.” Holling admitted that she and the team were ambitious about ticket sale predictions this year. They have yet to hit capacity [5,000] but the festival is in a “good place” and intends to grow organically. Holling is looking to the future. She concluded: “I want to get customers into our wonderful woods, I will apply for some ACE funding to develop the festival elements that are not related to music, and I’ll make some small improvements. We never want to bite off more than we can chew. We want to ensure we can deliver Underneath the Stars and deliver it well.” Images: © Bryan Ledgard/Mike Ainscoe

SUPPLIERS LIST Big tops and marquees – A&J Big Tops and Nationwide Marquees Trackway – All Weather Access Health and safety – JR Events Security – K-1 Security Toilets and showers – Kniftons Mobile, FG Trailer Hire, G&S Toilets, and Mobiloo Furniture – BE Event Hire and Decked Out Radios – Digital Comms Traffic management – UDP Lighting, power, audio – Isophase Audio Waste – BMBC Plant hire – Sunbelt Rentals Water tanks – Water Direct Fencing – Fence UK ADRIAN EDMONDSON KATE RUSBY

n 55 UNDERNEATH THE STARS

“How do you keep toilet queues short?” “Simple, use Ontrax, in any event.” Ontrax Rentals UK Ltd are a leading supplier of vacuum toilets, washbasins, urinals and showers. We provide high quality service to help you reach your goals. Our low environmental impact and efficient setup brings an advantage to all. Will you get Ontrax with us? Visit us at: ontraxrentals.com

www.a1groupuk.com n 57 TOILETS Sponsored by A1 Loo Hire he organiser of Beautiful Days took to Facebook –once the festival was over – to address negative comments about the toilets at the three-day event. Numerous festivalgoers jumped on social media to complain about the facilities. In a statement, Beautiful Days said that it was disappointed at the feedback given the amount of time and money that was spent on toilet plans for the 2022 event. Like traffic, toilets are one of those elements by which an organiser will be judged. How clean are they? What are the queues like? Is there enough?

Savvy organisers know this and always aim to provide guests with the best facilities. This year, more so than others, organisers struggled to secure toilets for their events.

T The demand for toilets this year was exceptional. Here, toilet providers discuss the season, market trends, and new developments Roll with it

Gilbert continued: “For the first time, Site Event provided toilet facilities for Royal Ascot.

ONTRAX ON

Gilbert added: “The organisers felt that the toilet pods worked much better than the toilet trailers; in particular, they allowed a better ‘flow’ for the visitors through maximisation of the units as the visitors were able to see the red and green lights of our Indicate system. Royal Ascot also benefited from the hi-spec vacuum toilet pods, providing low water usage, no chemicals or smells, and a luxury feel, backed up by our team of experienced engineers.” SITE SUPER TANKS

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BETTER FLOW Amy Gilbert, director of Site Event, described the event market as saturated – people are desperate to go out and experience live events once again. She predicts that 2023 will be “an interesting landscape”, with rising costs having an impact on future marketLaurenceconditions.Wigfield, head of operations UK at Ontrax, concurred. He argued that there remains a shortage of toilets and suggested that demand and interest in vacuum toilet systems are growing also. This year, Site Event won a contract to provide toilet facilities to Royal Ascot. The company provided toilet trailers, vacuum pods, and event toilets.

Many organisers had to source their toilet facilities from not one, not two but three or four providers and many blamed the Commonwealth Games for their lack of availability. The reality is that many providers simply didn’t survive the pandemic. Plus, this year is particularly crazy, as events flooded the market, returning after a twoyearThehiatus.Beautiful Days team promised festivalgoers that the toilet issues were at the forefront of conversations during the festival weekend [August 18-21] and will be a key focus going forward. No doubt, organisers will look to sign contracts and secure event toilet providers well ahead of next season.

The event historically has been supplied with toilet trailers. However, Royal Ascot decided to change the provision to include our three and six-bay vacuum toilet pods.” The three and six-bay pods work with a mobile app called Indicate. The app offers a full overview of toilet sanitation for large-scale events. It boasts the technology to allow for queue optimisation, tank monitoring, fast response times, and safeguarding attendees. Plus, a green and red LED light system clearly shows which cubicles are in use from afar.

Like Gilbert, Natasha Mawer, director of Igloos, said that the events season had been challenging for several reasons, including late bookings and logistical planning.

SUPPLY AND DEMAND

Laurence Wigfield, head of operations UK at Ontrax, explained the reasons behind the company name change: “I was introduced to the owner of Sanitrax International in November 2021. He wanted to discuss the possibility of creating a new rental company in the UK, using his products. I agreed that I would work for him on a freelance basis and see if there was any appetite for Sanitrax vacuum toilets. It turned out there was. With our surprise entry into the UK market, Sanitrax and I decided that we should continue our venture and created a new UK company – Sanitrax UK. In February 2022, Marcel, the owner of Sanitrax decided to sell his manufacturing business to Satalite Industries in the US. This sale didn’t include the UK business. We, therefore, needed to create a new identity and chose Ontrax Rentals as our new brand. We are now gearing up to be a large supplier of vacuum toilets, washrooms, showers, and other event facilities.” Ontrax has already had considerable success this summer, supplying toilets to Hampton Court Palace Festival, and Creamfields North and South. Wigfield explained: “We provided toilets to Creamfields North in 2021. They hired 411 pans, which were used in different

campsites. This took a lot of logistics and planning for a small team. We made some mistakes but through this, we were able to make some improvements, which we showcased at Creamfields South this June.

“We completely redesigned how we managed our toilets and moved away from macerator pumps to vacuum tank units,” Wigfield continued. “Knowing that volume and zero downtime in servicing was key to large events, we built some 18,000 litre super tanks that can operate up to 75 toilets comfortably and can be serviced without the need for any shutdown. With these new tanks in operation, Creamfields North asked us to supply toilets to some additional areas to bring the numbers up to 470 pans on site. The organisers also wanted to improve the look and feel of the Gold and Silver Sanitation Blocks, so we came up with the idea to build the toilet blocks on raised level platforms complete with fake grass flooring. The platforms looked incredible, and the festivalgoers really appreciated the improvements.”

Post-event feedback found that Ascot Racecourse was so impressed with the efficiency and effectiveness of the vacuum pods that it is changing its toilet plans for 2023 to incorporate fewer toilet trailers and more vacuum pods.

Wigfield confirmed that the organising team has asked Ontrax to provide Creamfields with even more units for next year! No doubt, it will not be the only organiser looking to secure toilets well in advance of 2023.

EXCEPTIONALLY BUSY Site Event also recently supplied Royal International Air Tattoo (RIAT), Badminton Horse Trials, WOMAD, and Cambridge Folk Festival with toilet facilities. Igloos supplied RIAT too, and Wimbledon, Farnborough International Airshow, Suffolk Show and Cartier Polo. Plus, Igloos installed a form of its panelled loo system into the Abba Voyage pavilion. Designed to accommodate thousands of guests daily, the system is more like a permanent washroom installation despite it being based on Igloos’ event hire stock.

Ontrax, formerly known as Sanitrax UK, provided toilet facilities to BST Hyde Park too. The Bampton-based company supplied vacuum toilets to the main sanitation blocks to the left and right of the main stage. By using Ontrax, the organising team was able to reduce water consumption considerably, and cut tankering costs, as Ontrax was able to plumb straight into the mains supply.

“Our long-standing expertise was fundamental in the successful delivery of Her Majesty’s Jubilee this year, and our vacuum products proved invaluable at nine of the venues of the Commonwealth Games. Our continued work in the sporting and festival sector saw us deploy to many of the year’s largest events, including The Open, BST Hyde Park, All Points East and many more.”

ONTRAX IN ACTIONCREAMFIELDS SOUTH

Ben Cruise, sales director at PTL, agreed. He said: “It’s been an exceptionally busy year for us, and that continues into autumn, as we look to Christmas events.

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Well... I have become that person. I am, however, holding onto the hope that because I recognise what’s happening, I’ve still got the presence of mind to navigate away from it. This must sound like a business spiralling out of control. But amazingly, the flipside of all this is that we continue to deliver better. The company is enjoying rapid growth. People like what we’re doing and we’re attracting talent. I’m gathering a handful of brilliant back-office people who understand the ups and downs of the events industry. They all want to work flexibly, and collectively they’ll take the strain. I was on a job the other day and watched the team laughing and joking but working hard. They had gelled and become friends. Something wonderful is binding these people together. So, to close, having pooled more than 30 years of business acumen, I’ve now devised the gold standard litmus test for running your own business successfully: Stop; bend over. If you look like you’ve been shoplifting blueberries something needs to change!

It’s not just about having the right amount of business. It’s about getting the right balance

ow do you respond to stress? Every aspect of my life has been pushed to the fringes because I’ve grafted seven days a week for the last two months. And while some people have nervous breakdowns, in my case the intense pressure of work tends to burst out of my bottom. I’ve got piles. And my hair’s thinning. Yesterday I opened some mail that’s been festering on my desk. I discovered three congestion charge fines, one traffic violation, and a court summons for nonpayment of council tax. At the time, they all just passed me by. So, as I perch gingerly atop my figurative rubber ring, my cheeks gently akimbo, hoping with all hope that I can resist the urge to sneeze, I steal a moment to wonder if it’s all worth it. Looking back to those days when going it alone seemed such a great idea: The thrill of being captain of my own destiny. But the reality is that while you no longer have to satisfy senior management when running your own business, you’re still just as much at the mercy of other people. I’ve never worked harder for less money in my life.

Running an events business in the current climate is tough. Read on, as Matt Storey, partner at The White Storey, gives an open and honest account of life in events, including balancing resource against demand

There’s a management theory that says it inevitably takes a crisis to push every business up to its next stage of evolution – a corporate take on necessity being the mother of invention, I suppose – so maybe one day I’ll look back on this phase with nostalgia. But it feels like ours is a microcosm of every company in the events industry. We’re all constantly trying to balance resource against demand; we need good people, and we must keep them working, but our work comes in spikes, all necessitating short-notice response. If you recruit and have no work, people drift away. Why not just say no? And, of course, I do turn business away. But it’s not just about having the right amount of business. It’s about getting the right balance. And the more you feed the machine by doing a good job, the more people want you. We all know a chronic overworker: They’re madly active all day and send their emails in the middle of the night. Nobody can ever get hold of them.

H MATT STOREY

theFeelingstrain

n 61 VIEWPOINT

Outcomes needed were identified as empowering festival teams with the knowledge to have the right conversations with waste contractors to work together and put in place effective measures, maintain accountability and report accurately. It was also felt that the festival industry needs a standardised approach to waste management.

62 n ver the past five years, Vision: 2025 has taken a snapshot of sustainability practices in the UK festival industry through its annual Green Industry Survey. Event organisers have persistently highlighted waste as one of their top three event challenges and priorities.

CHRIS JOHNSON

The project will build on existing research and the roadmap set out in the Show Must Go On report and will be steered by an industry working group representing key stakeholders such as festival organisers, waste management contractors, specialists, and industry organisations. In the first phase of the project, Resource Futures will undertake research to understand better current practices, impacts and opportunities, and will produce a report with recommendations. In the second phase, the working group will consider how the report translates into action across the industry, and the development of a code of practice for resource and waste management.

But recent conversations have highlighted significant confusion surrounding “biodegradable” materials – people are uncertain about what is genuinely compostable. City to Sea has launched a guide called Solutions on Tap – A guide to reducing waste and introducing reusable cup schemes at events. I’ve been part of the team producing this free guide to help event producers switch from single use disposable cups to reusable drink serving systems. The guide particularly targets small to medium size events. The intention is that the guide can help councils move away from single use plastic at their own events. This could lead on to providing detailed recommendations and guidance for events in their area.

There have been some great achievements by UK event organisers to reduce waste, such as the AIF’s 2018 Drastic on Plastic campaign, with 90 festivals committing to removing single use plastic. Ground-breaking circular economy initiatives in campsites and food-courts, championed by Native Events, are also leading the charge with further reductions.

Furthermore, Vision:2025 and Julie’s Bicycle have launched a project to deepen the understanding of waste management and its impacts at outdoor festivals. The aim is to set the industry on a course to overall waste reduction, zero waste to landfill, and increased recycling rates.

In October, Vision 2025 will host the Sustainable Event Summit at The Showman’s Show. A ‘No Time to Waste: Circular Materials Economy,’ session will explore the key findings from The Zero Waste Project’s research into challenges of auditing and reducing festival waste and the solutions. During this session, findings from the Zero Waste Festivals Project will be revealed for the first time, and we will delve into a world beyond waste, with innovative new models for campsites and more. I would love to hear your thoughts on waste management and to get your input on waste management best practice. Please feel free to share your experiences and I hope you can join us at the summit.

In July 2022, the project identified that current challenges of festival waste management included contamination of waste on site, understanding material types (what’s compostable and biodegradable?), getting accurate data from waste contractors, and too much focus on recycling and not on waste reduction.

GREEN COLUMN

Progress is being made in the reduction of waste. In the 2021 survey, three quarters of event organisers said they have front and back of house recycling in place. Two thirds knew where their waste went through their contractor, and the processes involved, and 57 per cent had a reuse policy in place for production materials.

Reducing and managing event and festival waste is one of event organisers top concerns and priorities. In his latest column, Chris Johnson, chair of Vision: 2025, looks at waste and highlights some of the work that is being done to tackle the issue

I think it’s now vital that all organisers start to measure and understand their emissions footprint. It’s the only robust way to know and report your impacts

Talkingrubbish

n 63 ES Lighting Hire Ltd 01256 765609www.eslightinghire.co.uksales@eslightinghire.co.uk ● Lighting, Audio Visual & Power Hire ● LED Lighting Specialists ● Private & Corporate Bespoke Events ● Full visualisation studio ● Interactive Projection Systems T 01582 723502 E Customisedinfo@confettimagic.comhand-heldcannonswww.ConfettiSupermarket.comT-shirtcannonhirewww.TshirtGun.co.ukCannonhireandeventSFXwww.ConfettiMagic.com MANAGEMENTTRAFFICEVENTSPECIALISTS @phoenixeventseastltd (01603) WWW.PHOENIXEVENTSEASTLTD.CO.UK952312 D MON TUES WEDS THURS FRI SAT SUN MON TUES WEDS THURS FRI SUN MON TUES WEDS THURS FRI SAT SUN MON TUES WEDS THURS FRI SAT SUN MON TUES WEDS THURS FRI SAT SUN MON TUESSAT 2 3 4 6 7 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 5 8 9 10 13 15 16 18 19 20 23 25 26 28 29 30 31 1 2 4 5 6 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 1 3 4 7 8 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 1 2 5 6 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 5 6 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 3131 21 2 4 5 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31JULJANDECNOVOCTSEPAUGJUNMAYAPRMARFEB www.yescrew.co.uk 01775 714120 EVENT CREW SUPPLIER Lighting KayDisasterSolutionsRecoveryLindars+44(0)7780638976+44(0)7973731222spicasolutions.com N T S & M A Q U STO P C AT BIG TOPS TOP CA B G TOP h g p q p h & d W g h d p E: info@topcatbigtops.co.uk Suppliers of Layher based staging and fully experienced crew To find out more 01949 861591 0774 818 6540 Email tom@upstaging.co.ukupstaging.co.uk T-Shirtwww.tshirtgun.co.ukinfo@tshirtgun.co.ukGuns! Security, Crowd Safety and Traffic YOU PROVIDE THE SHOW WE PROVIDE THE COVER Secure your spot, contact a 01795 www.standoutmagazine.co.uk509113 @standoutmag ECO-FRIENDLYE: sales@illumin8lights.co.uk VIP Security (Essex) Ltd Security House, 4 Station Court, Email: Phone:Website:info@vipsec.atwww.vipsec.at+44(0)1268526212 EVENT HIRE 0800FREEPHONE4585701 Lighting C. B. Potts ElECtriCal Emergency Lighting Access Lighting We specialise in the hire of premium brand generators and event equipment with delivery and collection anywhere in the UK 01296 871 info@energygeneratorhire.co.uk047www.energygeneratorhire.co.uk T: 01633 304642 E: hello@beaconevents.uk ips.co.uk 01908 657950 CCTV Speed Radars www.kelly-bros.com/vms-signs fencing solutions for some the UK’s leading event WORLDWIDETEMPORARY RODER UK Ltd T: 01487 840 840 E: sales@roderuk.com www.roderuk.com and Netherlands. Forover20years,traditional woodenpicnictablesforall largefestivalsandevents, www.picnictablehire.com Specialist in temporary water supplies to the events www.wews.bizindustry 0121 740 1385 or 07826 84 30 99 CALL US ON 01225 892336 Rigging EventsWaterinSpecialistsPlumbingServicesandSupplytotheIndustry. tel: 01629 580 570 Our range whisper quiet EVENT NEWS • EVENT EXPERIENCE • EVENT TENDERSwww.2CanProductions.comwww.2CanProductions.comwww.2CanProductions.comwww.2CanProductions.comwww.2CanProductions.comwww.2CanProductions.com www.2CanProductions.comwww.2CanProductions.comwww.2CanProductions.comwww.2CanProductions.com•www.2CanProductions.comwww.2CanProductions.com www.2CanProductions.com • www.2CanProductions.com • www.2CanProductions.com www.2CanProductions.com www.2CanProductions.com www.2CanProductions.com • www.2CanProductions.com • www.2CanProductions.com • www.2CanProductions.com www.2CanProductions.com • www.2CanProductions.com • www.2CanProductions.com www.2CanProductions.com • www.2CanProductions.com • www.2CanProductions.com www.2CanProductions.com www.2CanProductions.com • www.2CanProductions.com Book your spot on our 2023 Wall Planner Limited Space Available Call 01795 509113 or email sarah@standoutmagazine.co.uk to book your spot today!

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BRAND ACTIVATION & EXPERIENTIAL Instant Marquees DD: 01840 219047 | M: 07748 165 827 www.instantmarquees.co.ukVersatileVenues

ASSOCIATION

CONNECTIONS Connections are sponsored by 64 n www.versatilevenues.co.uk

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

Event Production Services The Pack House, Drayton St. Leonard, Oxford, OX10 7BG E: info@epsoxford.com T: 01844 278446 Press Red Rentals Limited Unit B10 Court 2000, Bridgnorth Road, Madeley, Telford, TF7 4JB T: +44 (0) 1952 587049 W: www.pressred.biz

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

BUGGY HIRE

Hopkins Machinery T: 01633 680754 E: hire@hopkinsmachinery.co.uk W: www.hopkinsmachinery.co.uk

AV, SOUND & LIGHTING

CABINS

Cube Modular Ltd Unit 1, St. Modwen Park, Norton Road, Broomhall, Worcester, WR5 2QR T: 01905 955814 E: theteam@cubemodular.co.uk W: www.cubemodular.co.uk LinkedIn: www.linkedin.com/company/cubemodular/ Twitter: @CubeModularLtd Instagram: @cubemodularuk

CONNECTIONS

E: admin@phoenixeventseastltdco.uk W: www.phoenixeventseastltd.co.uk Weezevent/Playpass Platf9rm, Floor 6,Tower Point, 44 North Road,Brighton, BN1 1YR T: 07500 797640 CASHLESS SYSTEMS CLEANING & SUPPORT SERVICES Falcon Cleaning and Support Services Ltd Specialised Cleaning and Support Services 31(Nationwide)OldburyRoad, Enfield, EN1

ENTERTAINMENTDIGITALPLANNING

www.versatilevenues.co.uk n 65

areConnectionssponsored by 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 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 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 3QN 0208 W: www.falconcss.co.uk

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

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 Rodeo Crew 128 Wey House, 15 Church Street, Weybridge, Surrey, KT13 8NA T: 020 8075 7799 E: bookcrew@rodeocrew.uk W: www.rodeocrew.uk Odin Events Ltd Unit 1 RoundHouse Farm, Marston Meysey, SN6 6LL T: 0800 030 6881 E: info@odinevents.com W: www.odinevents.com

798 2699 E: events@falconcss.co.uk

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EVENT PRODUCTION

EVENT SAFETY Blue Yonder Events Ltd T: 07432 214607 w: www.blueyonder-events.co.uk LFX Safety Stockport BIC, Gtr Manchester, SK5 7DL T: 0161 408 2220 E: enquiries@LFXevents.co.uk W: www.LFXevents.co.uk Symphotech Safety. Production. Noise Management Claire Feeney T: 0871 711 5264 E: claire@symphotech.co.uk W: www.symphotech.co.uk

First class

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

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

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

CONNECTIONS Connections are sponsored by 66 n www.versatilevenues.co.uk

2Can Productions T: 029 20 100256 E: info@2canproductions.com W: www.2canproductions.com Blue Yonder Events Ltd T: 07432 214607 w: www.blueyonder-events.co.uk

EVENT MANAGEMENT

ControlCommunicationReadiness,Resilience,&forincidentsorpre-plannedevents. www.controlledevents.com

EVENT ACCOMMODATION

EVENT CONTROL, RADIO & WI-FI SERVICES Controlled Events T: 0203 286 6392 E: info@controlledevents.com W: www.controlledevents.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 T:Sparq0370 606 1100 E: hello@sparq.live W: www.sparq.live

Airstream Facilities Ltd T: +44 (0) 1885 400223 E: info@airstreamfacilities.com W: www.airstreamfacilities.com Bunkabin Tweedale Way, Oldham, OL9 7LD T: 0345 456 7899 E: hires@bunkabin.co.uk W: www.bunkabin.co.uk Caboose & Co Unit 1, St. Modwen Park, Norton Road, Broomhall, Worcester, WR5 2QR T: 01905 955814 E: theteam@cubemodular.co.uk W: www.cabooseandco.com/ LinkedIn: www.linkedin.com/company/caboose&coltd/ Twitter: @CabooseandCo Instagram: @CoandCaboose Zoo Events Group Ltd Stockton Dairy, Stockton, Warminster, BA12 OSQ T: 01258 840233 E: info@zooeventsgroup.co.uk W: www.zooeventsgroup.co.uk

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

www.versatilevenues.co.uk n 67

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

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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

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

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

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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

FURNITURE HIRE / SALES

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

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

FLOORING & FLOOR COVERINGS

EXHIBITION

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

HEATING & COOLING SYSTEMS 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 BiemmedueUK & Arcotherm Units 15 & 16, Ecclesbourne Park, Clover Nook Road, Alfreton, DE55 1RF T: 01773 836999 | E: sales@biemmedueuk.com W: www.biemmedueuk.com Tysers Insurance Brokers 71 Fenchurch Street, London, EC3M 4BS T:+44 (0)203 037 8000 E: tim.rudland@tysers.com W: www.tysers.com INSURANCE Arc International St. Clare House, 30-33 Minories, London, EC3N 1PE T: +44 (0)207 977 7637 W: www.apex-ins.co.uk/arcinternational LASER & FX Laser Grafix Unit 4A Stratton Park, Biggleswade, SG18Bedfordshire,8QS UK office: +44 1767 315948 Lightmedia Displays Mobile & Modular LED Screen Hire T: 0333 600 6000 24 hour response E: sales@lightmedia.co.uk W: www.lightmedia.co.uk LOCKERS Mobile Locker UK Ltd Unit 11, Trident Park, Poseidon Way, Warwick, Warwickshire, CV34 6SW T: 01926 671937 E: info@moblielocker.co.uk W: www.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

Tech AV Ltd London, Essex, Birmingham T: 0345 257 9969 E: lee@techav.events W: www.techav.events YSLV London & York T: 0800 080 3310 E: hire@yslv.co.uk W: www.yslv.co.uk

CONNECTIONS Connections are sponsored by 68 n www.versatilevenues.co.uk 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

LIGHTINGLIGHTING details: Neil - 07710 700759 or Ian - 07568 430704 E: sales@illumin8lights.co.uk W: www.illumin8lights.co.uk Supplies UK Ltd Unit 22, Trevol Business Park, Torpoint, Cornwall, UK, PL11 2TB t: 01752 817 140 e: sales@essentialsupplies.co.uk w: essentialsupplies.co.uk Facebook: www.facebook.com/esssupplies/ Instagram: www.instagram.com/essential_supplies/ LinkedIn: www.linkedin.com/company/3015168/admin/ Twitter: twitter.com/ESSSupplies

AND VISUAL SPECTACULARS ContactIllumin8

Essential

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www.versatilevenues.co.uk n

HIRE LOOS FOR DOs Ltd GU35 9NZ T: 01420 588 355 E: info@loos.co.uk W: www.loos.co.uk Four Jays Group Barling Farm, East Sutton, Maidstone, Kent, ME17 3DX T: 01622 843135 E: enquiries@fourjays. co.uk W: www.fourjays.co.uk

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

www.instantmarquees.co.ukGigtentUK

69 CONNECTIONS

areConnectionssponsored by 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 Instant Marquees DD: 01840 219047 | M: 07748 165 827

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 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

PLANT

PORTABLEHIRETOILET

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

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

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

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

POWER & GENERATORS

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

Festival Power Ltd Unit 5, Parkway Trading Estate, St Werburghs, Bristol BS2 9PG W: www.festivalpower.co.uk

REUSABLE CUPS

Progen Power Ltd Belvedere House, Pynes Hill, Exeter, Devon, EX2 5WS 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

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

Fourth Generation Ltd 220 Cricklewood Lane, London, NW2 2PU T: 020 8450 2943 M: 07741 052565 E: tweed@fourthgenerationltd.com W: www.fourthgenerationltd.com

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

www.versatilevenues.co.uk

ROADSHOWS

Newburn Power Rental Limited Unit 36 Lidgate Crescent, Langthwaite Business Park, South Kirkby, Pontefract, WF9 3NR T: 0845 077 6693 E: info@npr-uk.com Phase Hire Ltd 140A Kents Hill Road, Benfleet, Essex, SS7 5PH T: 01268 792648 E: info@phasehire.com W: www.phasehire.com Power Events T: 01277 424800 E: enquiries@powerevents.co.uk W: www.powerevents.co.uk

CONNECTIONS Connections are sponsored by 70 n

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

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

RADIO COMMUNICATIONS

ITEMS & CLOTHING

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

PROMOTIONALPRINTERSPROJECTION

SECURITY

STEWARDS / MARSHALLS

Social media platforms: LinkedIn: safesite-facilities-ltdhttps://www.linkedin.com/company/ Twitter: https://twitter.com/safesitefac Facebook: Facilities-Ltd-467996143326191https://www.facebook.com/SafeSite-

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n 71 CONNECTIONSareConnectionssponsored by

Newman Event Services Ltd Crowd Management, Festival & Event BloxhamSecurity/Stewarding.Mill,Barford Road, Bloxham, Oxfordshire, OX15 4FF T: +441295 722844 E: enquiries@newmanevents.co.uk W: www.newmanevents.co.uk

SITE SAFETY

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

Protegimus Security Ltd Unit 1, Station Terrace,Station Road, Kegworth, Derbyshire, DE&$ 2GE T: 01509 670424 T: 01332 792991 (voicemail) E: admin@protegimus-security.com W: www.protegimus-security.com 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

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

SETSEATING&SCENERY

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

STAGING & RIGGING

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

CONSTRUCTION Staged Events Ltd Meadow View, Newnham Lane, Old Basing, Hampshire, RG24 7AU T: 01256578055 E: info@wearestaged.com W: www.stagedevents.com

Complete Staging Ltd T: 01282 862777 | W: www.completestaging.co.uk E: gary@completestaging.co.uk

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

TEMPORARY ROADWAYS

Cap Trac Limited The Stables, Loke Farm, Weston Longville, Norwich, NR9 5LG T: 01603 880448 E: info@captrac.co.uk W: www.captrac.co.uk

CONNECTIONS Connections are sponsored by 72 n www.versatilevenues.co.uk

NEPTUNUS Ltd Cob Drive, Swan Valley, Northampton NN4 9BB T: +44 1604 593820 E: sales@neptunus.co.uk W: www.neptunus.co.uk

Fews Marquees Chessgrove Park, Ditchford Bank Road, Hanbury, Bromsgrove, Worcestershire, B60 4HS T: 01527 821789 W: www.fewsmarquees.co.uk

Exhibition Traffic Management Services Ltd

Baldersby Gardens, Ripon Road, Baldersby, Thirsk, North Yorkshire, YO7 4PS T: 08000 246 800 E: info@eventtc.com W: www.eventtc.com

TIPIS

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

TICKETING

Low & Bonar Oldham Ltd Hollinwood Business Centre, Albert Street, Oldham, OL8 3QL, U.K. E: info.uk@mehgies.com W: www.mehgies.com

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

TRAFFIC MANAGEMENT

Perton House, Roslin Road, London, W3 8DH T: 0203 567 1479 E: ops@exhibition-traffic.co.uk W: www.exhibition-traffic.co.uk Event Traffic Control Ltd

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

TEMPORARY STRUCTURES

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

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

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

TEMPORARY STRUCTURES - MANUFACTURERS J & J. Carter Ltd Unit 2, 34 Walworth Road, Walworth Business Park, Andover, Hampshire, SP10 5LH T: 01264 721630 E: sales@jjcarter.com W: www.jjcarter.com

TRACKWAY

VEHICLE HIRE

www.versatilevenues.co.uk

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

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

n 73 CONNECTIONSareConnectionssponsored by

TRANSPORTATION & LOGISTICS 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

DRINKING WATER PURE & SIMPLE

Twitter: @GACPindar Stagefreight Evanston Avenue, Leeds LS4 2HR T: 0113 238 0805 / 0113 279 7898 W: www.stagefreight.com

WATER & PLUMBING SERVICES Wicked Event Water Services Kevin: 07909 771996 E: info@wickedeventwaterservices.com W: www.wews.biz

WIFI, INTERNET & STREAMING

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

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 Unit 13, Leominster Enterprise Park, Leominster, Herefordshire, Hr6 0LX T: 0800 298 9434 E: hello@simpliwifi.agency W: https://simpliwifi.agency 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 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

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

VENUEVENUESMAPPING

WASTE MANAGEMENT

Sales executive Holley holley@standoutmagazine.co.ukWilkinson

Design and production Jack Witcomb studio@standoutmagazine.co.uk

BACK TO BURGHLEY Land Rover Burghley Horse Trials’ Sophie Attwood, assistant event director, chats to StandOut about event developments and the equestrian event’s return

Publication manager Sarah Bourne T:sarah@standoutmagazine.co.uk01795509113

MANAGING WASTE Event and festival waste is a top concern for event organisers. In the October edition, StandOut looks at the latest best practice and initiatives addressing rubbish on site.

Managing director John Denning StandOut Multimedia Limited, Park Grange, Evegate Business Park, Smeeth, Ashford, Kent, TN25 6SX www.standoutmagazine.co.uk

CBP013784

74 n

Editor Caroline Clift caroline@standoutmagazine.co.uk

Featured in our next

issue...

Digital and web developer Matthew Coppard Credit control Janine Walmsley T:creditcontrol@standoutmagazine.co.uk01795509103

Publisher Neil Fagg T:neil@standoutmagazine.co.uk01795509101

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, Park Grange, Evegate Business Park, Smeeth, Ashford, Kent, TN25 6SX Martin lrbht_official SHINING A SPOTLIGHT ON WALES

StandOut heads to North Wales to go behind the scenes of the inaugural GWCT Welsh Game Fair, organised by the National Game Fair’s James Gower.

“An excellently run event that is a must attend for event organisers and buyers wanting to meet new suppliers.” Group managing director of Identity Group ONLY28www.eventbuyerslive.com-30thNovember2022100PLACESAVAILABLE

76 n +44 (0)1487 sales@roderuk.com840840 Röde R (UK) Ltd earith Business Park, Meadow drove, earith, Huntingdon Pe28 3QF, United Kingdom Röder based in the UK can provide nationwide delivery, installation, and support. Looking to be agile and flexible with the ability to react to company or customer needs? World Ski Biathlon in Germany –30m x 60m two storey solution structure Bottled water storage complex in Germany – 3 insulated 30m x 100m structureswith HGV docking bays Life size visitor attraction in Berlin – linked solution structure Training swimming pool at the London Olympics – 30m x 80m Long Structure Event structure in Europe25m x 50m with clear PVC covers Need to increase your space to meet current demands? Röder can supply a range of relocatable, infrastructure.workandmarqueeshigh-qualitysemi-permanent,structuresandthatcanbeeasilyquicklyinstalledtoaroundyourexisting All structures are available for medium or long-term hire or purchase.

StandOut Magazine September 2022

Articles inside

FEELING THE STRAIN

NEW SITE = NEW OPPORTUNITIES

BEST PRACTICE AT EBL

ACCESS FOR ALL

NATIONAL TREASURE

EXTRAORDINARY MOMENTS

STARRY NIGHTS

DRIVING FORCE

EVENT TENDERS