StandOut January Issue 2026

January 2026

Guess who’s Back

page 20

Back Doune the Rabbit Hole’s Brian Harkin on reviving a festival brand

NEVERLAND AT KENWOOD

WOMAD

EVENT CONTROL

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CONTENTS

12 GET HOOKED

16 FINDING A NEST (ON)

34 MAKING HAY…

20 GUESS WHO’S BACK

42 SPACE TO EXPLORE

10 WINNING BUSINESS

26 LOG AND LEARN

12 GET HOOKED

34 MAKING HAY…

Looking for new business opportunities? Check out news of contract wins and event tenders Culture Creative’s Zoe Bottrell and Ian Bone on Neverland at Kenwood, a new immersive light trail that is set to tour the world and raise money for Great Ormond Street Hospital

16 FINDING A NEST (ON)

After taking a year out, WOMAD will return in 2026 at a new home.

Rupert Bassadone, head of operations at WOMAD, walks StandOut through the festival’s plans

20 GUESS WHO’S BACK

Back Doune the Rabbit Hole’s Brian Harkin on bringing back a festival brand and making sure it’s not a flop

Event control is a vital function and the beating heart of an event site.

Event professionals discuss control room best practices Sheep that look like celebrities and Jeremy Clarkson. Stable Events’ James Gower on the creation of The Great British Farm Fest

39 A FESTIVAL FOR EVERYONE

This year, Edinburgh International Festival presented its first-ever dementia-friendly concert. Callum Madge, access manager, reveals how EIF made this powerful performance happen

42 SPACE TO EXPLORE

Venue choice has a huge impact on guest experience.

Here, StandOut looks at the venue market, including venue launches and improvements

www.olympuscrew.co.uk n 03

EDITOR’S LETTER

JANUARY 2026 you ever likened event control to a kitchen at a house party? It’s the one room in a H ave house where everyone passes through or people want to spend some time in. So if you’re

an event controller, does that mean you’re the host and the one who has to keep the kitchen wellstocked and ready for anything?

It’s an interesting analogy isn’t it and it’s something that came up in conversation whilst was researching our latest in-depth look at the vital function. To many, event control is a scary place, but it should be somewhere that you gravitate to. Clearly not if you’re genuinely looking for a brew, but if you need help and there’s an incident on-site then event control is the heart of your “home”.

Turn to page 26 and you will hear from many passionate event professionals, who have taken the time to discuss trends, best practices, and what they are doing to make event control more efficient. You’ll soon discover that it’s just one of several features that shines a light on the latest developments within the world of live events so if you love learning about the nuts and bolts of events and like to discover how others are doing things on their event sites, settle in.

This January 2026 issue is packed full of interesting chats. For example, you’ll have to peruse the next 60-odd pages to find out which organiser believes resurrecting a beleaguered festival was easier than starting one from scratch and who said that a relationship and rapport with a venue team trumped any kind of budget concerns.

As always, I’d love to have more conversations so if you would like me to join you on-site in 2026, in my hi-viz and steelies, please give me a shout. Tell me what you’ve recently learned on your event site or what you are about to do differently to make your event stand out and if you don’t mind making me a brew (one and strong, please), I’ll bring the biscuits. Let’s start 2026 as we mean to go on – sharing Hobnobs and information – and hopefully, we can make the events world a stronger place.

Happy reading, Caroline

Cover image: © Back Doune the Rabbit Hole/M J Windebank Film and Photography

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CONTRIBUTORS

This month’s

CONTRIBUTORS:

CALLUM MADGE

Callum originally trained in arts journalism before leaving the profession and turning to the world of theatre. As a freelance project manager and producer, he has worked on many projects and productions at the National Theatre of Scotland and Lyceum Theatre but is now access manager at Edinburgh International Festival (EIF). With a strong background in arts and culture, Callum now works at EIF, removing barriers for disabled people to enjoy the festival. In this issue, Callum discusses the festival’s first-ever dementia-friendly concert, including lessons learned and the practical measures that were implemented to ensure the audience had a friction-free experience.

JO PEPLOW-REVELL

Jo is director of corporate and special events at AEG UK Venues. She has been at AEG for several years, working her way up through the organisation, but earlier this year was promoted. An experienced event professional, Jo now sits across all corporate events at The O2, Eventim Apollo, Indigo O2, The Halls Wolverhampton, Watford Colosseum, and British Airways ARC, the new venue set to open at London’s Olympia. Turn to page 42 and discover Jo’s thoughts on the new venue and what it means for live events.

BRIAN HARKIN

Brian is festival director of Back Doune the Rabbit Hole, founder of Elements Design Studio, and a musician. With a degree in music technology and a Masters in multimedia communications, he has combined his love of music and digital comms and put them to good use. Now in charge of Back Doune the Rabbit Hole, Brian leads the small Scottish music festival’s new management team, bringing stability and a fresh pair of eyes to the event. Check out page 20 and find out why Brian thought it would be easier to take over an event with “history” rather than launch a festival from scratch.

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INDUSTRY UPDATES APPOINTMENTS OF THE MONTH

PIC OF THE MONTH

Strata has appointed Michael WyrleyBirch as president and group managing director of growth and strategy.

Bec Rogers is now senior events project manager at JCB.

Image: © Skymagic

Julie Tippins has joined DHP Family as non-exec director and Michele Somers (pictured) joins the board as new director of risk and culture.

Identity has appointed Tom Sabin as project director.

Some of David Hockney’s most iconic works appeared in the night sky above the artist’s hometown of Bradford as part of a special free event for Bradford 2025 UK City of Culture.

Skymagic was contracted to celebrate the region’s most famous artist, recreating Hockney’s career in the night sky with more than 600 choreographed illuminated drones. The event called Painting the Sky recreated his vibrant Californian pool scenes to his bright landscape paintings of the Yorkshire countryside.

LINKEDIN POST OF THE MONTH

Glyn Cassidy is now director of event operations at AZ Sport.

Stamp Out Spiking has been given a £9,914 grant to create a new gold standard accredited spiking awareness training programme especially for the outdoor events industry.

Lou Gallagher Production director

The Royal Edinburgh Military Tattoo has appointed Johna Penman as marketing director.

Royal Borough of Windsor and Maidenhead has appointed Paul Roach as civic and ceremonial events manager.

Emmaus Safe has welcomed Helen McCabe as health and safety lead.

Rory Sloan is the new MD of Energy.

Ghostwriter Consultancy and Events has appointed Helen McGee as director of venues.

NEWS IN BRIEF

You know that feeling when you finally get offered a gig you really wanted… and then realise saying yes would actually cost you money? That was me this week. The project sounded great. But when the budget details came through, travel wasn’t covered.

Cue that classic freelancer debate: Maybe I should just do it anyway? But then that tiny sensible voice piped up: You’re not supposed to pay to work.

And honestly? It’s true. We all want to be flexible, collaborative, easy to work with – but there’s a line between being adaptable and being out of pocket. Sometimes saying no feels awful… but it’s the right thing long term.

When you’ve worked across broadcast, experiential, and live events, you learn that passion doesn’t pay your train fare (sadly).

Boundaries are part of valuing yourself.

So, I said no. Politely. Professionally. With a little sigh because I’d have loved to say yes.

But no, I didn’t mess up. I made a grown-up decision – one that keeps me sustainable, sane, and ready for the next project.

To anyone else who’s had to turn down a gig – you’re not alone. You didn’t fail. You just made it make sense.

Following a review by the EIF, Purple Guide subscriptions are to be increased to £50 + VAT per annum. This is the first time the subscriptions have been increased since the new guide was launched in 2012.

Attitude is Everything has launched a fundraising appeal to help the charity continue its vital work.

The Home Office has published a new National Licensing Policy Framework.

Ministers have also said they will legislate to increase the Temporary Event Notices a licensed on-trade venue can have and to support a licence simplification process.

As a result, The Purple Guide’s licensing chapter will soon be updated.

According to UKEVENTS’ UK Events Report 2025, the UK events industry is now worth an estimated £68.7 billion and is forecast to grow three to five per cent annually through 2027.

The Power of Events’ UK Schools Engagement Programme has expanded into the Leeds region.

www.olympuscrew.co.uk n 09

EVENT TENDERS AND CONTRACT WINS

LONDON STADIUM

Image: © Miru

Winning business Looking for new business opportunities?

Check out news of contract wins and event tenders

The organiser of Royal International Air Tattoo has appointed Freemans Event Partners as its exclusive public catering provider.

Derry and Strabane District Council is inviting proposals from qualified organisations to illuminate the ships and vessels at the 2026 Foyle Maritime Festival. The deadline is 12pm on January 9.

Email tenders@derrystrabane.com Trojan Security has been appointed to provide SIA security and stewarding services at London Stadium.

The Agriculture and Horticulture Development Board has issued a prior information notice for stand build services for several events in 2026 and 2027. The successful contractor will be responsible for the design, production, construction, dismantling and disposal of the stand, along with any AV requirements and any other associated production services. Each new event will require new designs.

This tender is worth £770,400. Interested? Email Sarah Waters – procurement@ahdb.org.uk

Cardiff University wishes to create a single supplier framework for marquee and associated equipment hire. This tender is worth £600,000. The deadline is 5pm on January 6. Interested? Email rogalaa@cardiff.ac.uk Social Care Wales is looking for AV, lighting and staging services for its Accolades awards ceremony in July 2026. The deadline for this tender is January 8. Email procurement@socialcare.wales TRP Trading Company is undertaking a pre-market engagement exercise, inviting event professionals to complete a questionnaire for a potential new event at Bushy Park. The engagement deadline is February 9. Email procurement@royalparks.org.uk Northumbria University has issued a tender for event production services for its graduation ceremonies. This contract is worth between £100,000 and £500,000. If you are interested in this opportunity, email jill.black@northumbria.ac.uk – the deadline is 5pm on January 30.

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NEVERLAND AT KENWOOD

Get hooked Culture Creative’s Zoe Bottrell and Ian Bone on Neverland at Kenwood, a new immersive light trail that is set to tour the world and raise money for Great Ormond Street Hospital

NEVERLAND AT KENWOOD

All images: © Sony/RG Live/Oliver Dixon/Geraint Lewis

StandOut walks into the production W hen office of RG Live and Culture Creative’s

first outdoor Neverland trail at Kenwood House, we’re faced with a pile of small suitcases. They belong to Zoe Bottrell, managing director of Culture Creative, who – hours earlier – was in the States signing off outdoor trails in Chicago, San Francisco, and Brooklyn.

“Do you want a cup of tea?” she says.

“Are you not knackered?” StandOut replies before turning to hug her colleague, Ian Bone, a giant Scotsman, self-confessed Irn Bru lover, Culture Creative’s head of production, and someone who has evaded StandOut’s clutches all these years.

“It’s so nice to finally meet you in the flesh,” StandOut says, laughing. “You’re real.”

It’s scenarios like this that make being on-site so warm and wonderful. For in the madness of an organiser’s officer – surrounded by boxes and signs of a life away from home – there’s a genuine energy and passion to share stories and just be real.

“So, how’s it going?” StandOut asks, drinking hot tea around a small plastic table.

12 n www.olympuscrew.co.uk

Bottrell takes up the story: “Last year, we followed Tinkerbell through Blenheim Palace and produced Neverland in the Palace. It was the first foray into working with an IP holder, because Great Ormond Street Hospital (GOSH) owns the rights to the Neverland story.

“Having done that and seeing what a success it was, we started a conversation with them about creating an outdoor trail, which they were very happy for us to do.”

TOURABLE

Culture Creative – a creative design and production management company – worked with RG Live – a division of Sony Music Masterworks – to devise, install, and manage both the indoor trail at Blenheim Palace in 2024 and the outdoor trail at Kenwood House.

It’s a trail inspired by JM Barrie’s timeless tale of Peter Pan. But what’s more, it’s now a tourable show. “Unlike all of our illuminated trails that we reprogramme year on year with artist content, this show has been built so that it is what you see and then it will tour,” Bottrell continues. “We’ve worked with GOSH to

NEVERLAND AT KENWOOD

IAN BONE (he/him) AND ZOE BOTTRELL (she/her) ensure we follow their brand guidelines and use their characters, which we didn’t really do inside Blenheim Palace last year, as we kept it quite traditional. But GOSH has some very contemporary characters, so for this trail, we’ve taken them and built a story.”

WORKING WITH THE LANDSCAPE

The immersive trail, which runs until January 3, has transformed the historic grounds of Kenwood House into a world where magic and adventure capture the imagination.

Spectacular lighting, immersive storytelling, and an atmospheric soundscape bring Barrie’s beloved world vividly to life and thanks to some Meccano wizardry from Bone and his team, there’s a 25-metre high pirate ship, too.

Bottrell adds: “When you start in London, you start in the City of London, you go through the Darling House, you go through Kensington Gardens, you end up in Neverland and tour the island of Neverland. In my head, you should always finish up with the big ship and Captain Hook but when you work in

landscapes, gardens, and historic properties it means things will fit where they touch.”

As a result, Bottrell has designed the story as two halves – a London half and a Neverland half – but how those halves are laid out when the show tours will differ. Why? Because Bottrell sticks to her guns and believes you should always work with the landscapes you have and never force anything so it looks completely out of place.

RAISING FUNDS

According to Bottrell, further UK trails are in advanced discussions and there are plans to tour Neverland across Europe and in other territories across the world. This is great news as each ticket sold supports the work of GOSH Charity, funding cutting-edge medical equipment, ground-breaking research, and support services for patients and families.

“English Heritage were looking for a new trail partner,” Bottrell explains. “We really wanted to launch Neverland in London. So therefore, instead of bringing the Christmas at… experience here, we brought Neverland.”

www.olympuscrew.co.uk n 13

NEVERLAND AT KENWOOD FLEXIBLE

Culture Creative and RG Live will look to tour the trail twice a year. Once around February half-term and once around Christmas, even though Neverland is not a festive story. This means that Neverland could be presented at any time between October and March, and it could be taken to the Southern Hemisphere.

Thankfully, Bone has designed the trail’s huge pirate ship around two x 20-foot shipping containers, which also act as storage. But the show has been designed with a huge amount of flexibility in mind so at some venues, half the show could be inside a heritage venue and half of it could be outside in landscaped gardens.

PROPS

“I have been building the big stuff,” says Bone.

“Zoe came up with all the concepts and then I’ve built the big galleon, the City of London scape, all the structural stuff and then we’ve been buying props, hundreds of alarm clocks, and a six-metre crocodile.”

A lot of the big “theatrical stuff” was built in Edinburgh where physical space was not so much of a problem, despite Culture Creative’s five huge warehouse sheds. Furthermore, Bone and Bottrell have contracted IPS, White Light, Tube, Marcomms, and Algeco for equipment and services as well as North Sky, Orbital FX, Presentation Design Services, and Designs in Air, which have created a range of props, including giant four-metre high inflatable mushrooms and jellyfish, that help to tell the story of Neverland, just not necessarily in the order that you might remember it.

RECIPE FOR SUCCESS

The trail takes place within a small footprint; Kenwood House is a tight site and roughly 350 people can pass through the trail every 15 minutes. Earlier this year, RG Live and Culture Creative produced Halloween at Kenwood for the first time. Therefore, Bottrell was able to take the learnings from that trail and implement them at Neverland.

For example, the front of house position at Neverland has been moved because of the tightness of the site entrance. But, the biggest challenge has been the weather. A typhoon delayed the arrival of some structural pieces so once Neverland loads out, Bone plans to take the kit back to Edinburgh to “play with it” before it tours; and before he heads to Australia for a series of outdoor light trails down under.

It’s non-stop for Bottrell, Bone, and Culture Creative, which have hit on a recipe that works for so many audiences. Bottrell concludes: “It’s a thrill to create trails that will transport visitors to this land of magic, imagination and adventure. But what’s going to stand out? The ship, the technology that is in this show, the Darling House has shadow windows, we’ve got a 50-metre canopy tunnel where Peter Pan, Tinkerbell and the children fly above your heads, there are 400 lamps in Tinkerbell alley, and 4,000 illuminated flowers. So whilst our footprint is compact, nothing about this trail is small in numbers or size.”

14 n www.olympuscrew.co.uk

WOMAD

WOMAD

All images: © Mike Massaro/Ryley Morton/Garry Jones Photography

Finding a Nest (on)

After taking a year out, WOMAD will return in 2026 at a new home. Rupert Bassadone, head of operations at WOMAD, walks StandOut through the festival’s plans

business owner will know A nythatsavvy sometimes the easy option is not

necessarily the right one for your business.

So what would you do if you were faced with moving your festival to a new site? Would you choose an event site that would enable you to plug and play, thanks to investment from previous tenants? Or would you opt to

NESTON PARK 16 n www.olympuscrew.co.uk

pick an event site that had never hosted a large-scale event and would need additional infrastructure?

That’s exactly the scenario that was faced

by Rupert Bassadone, head of operations at WOMAD, and Chris Smith, WOMAD’s festival director, when the duo were faced with having to find a new location for WOMAD 2026.

“We were looking for a new site before WOMAD 2024,” explains Bassadone, who is talking to StandOut on a cold winter’s day.

“We did our due diligence and looked at many, many sites but when we visited Neston Park, it kind of felt inevitable the moment we got there. It’s just one of those places that’s so pretty and untouched and it just felt right.”

RELATIONSHIPS AND RAPPORT

In November, WOMAD revealed that Neston Park, Wiltshire, would be the festival’s new home and host the 43rd edition of the independent music festival.

WOMAD

“Neston Park was the first site we went to actually see,” Bassadone continues. “We did look at the old Secret Garden Party site, which was fantastic and set up and ready to go, but it isn’t just about site set up, affordability, and infrastructure. I mean, I know that’s the very sensible answer but it’s also about relationships and rapport. It’s about the relationship that we have with the venue, not just venue owners, but the managers, the farm manager, and the estate manager, and you need someone who isn’t combative in their approach. We wanted someone who could work with us, who was really open to doing something which works for the festival, so we can stay there for a very long time.”

BLANK CANVAS

Neston Park is just 30 minutes from WOMAD’s old Charlton Park home. If WOMAD had opted to host the festival on an event site with no experience of large-scale events and that also fell under a local authority that had no experience of large-scale festivals either, then Bassadone and the team would have made things difficult for themselves.

But having an existing relationship with Wiltshire Council is a huge bonus and makes the event management process so much easier. It means that Bassadone and the wider WOMAD team will still liaise with Wiltshire Council so all that relationship building with the local authority and emergency services remains intact.

“So where are you at with your plans?”

StandOut asks.

“Well, we have a site plan,” Bassadone says laughing. Good job! For when Bassadone is not working on WOMAD, his other “hat” is founder of Event Site Design, which provides

18 n www.olympuscrew.co.uk

organisers with intelligent site maps, precision mark-outs, and experienced site production.

StandOut chuckles too: “Well, if you didn’t, I’d start to question what you do for a living.”

However, in all seriousness, whilst there is a site plan, there’s a lot to do before the WOMAD team get bogged down in detail.

Bassadone adds: “We’re starting with a completely blank canvas and looking at all the principles that I talk to clients about every day.

From commercial to operational, safety, and the experience. Now I am going, ‘Right, I’ve actually got to put this into practice’.

“We’re completely rethinking how WOMAD comes together, keeping the things that people love – the music, the culture, the food, the workshops – but the site itself and how all of those things come together will change and they are still developing.”

PROCESS

Bassadone and the WOMAD team – which includes Bethany Iveson-Everett, production manager, and Ella Preda, production coordinator – are currently looking at a raft of things. From new structures and supplier contracts to licence applications and “interesting collaborations” in terms of line-up. In fact, WOMAD is about to submit its licence application for 29,999 people.

Bassadone explains further: “We’re definitely in a phased approach. Over the last few months, we’ve been pulling together the licence and the main concept and now we’re looking at the technical overlay. We’re going through the process of tendering and getting all the key suppliers locked in.”

Bassadone says that the festival’s new licence application has been a big task.

Post-Christmas, attention will turn to SAGs

and local liaison with January and February expected to fly by. Then comes the “detail”.

MAGIC

According to Bassadone, ticket sales have been “extraordinary”. The festival team is not expecting to sell 25,000 tickets. But clearly, hard-core WOMAD fans have missed the festival with incredible first day sales seen as a huge endorsement.

“My hope is that we’ll sell out well before the festival takes place so that we can be really clear and know how many people we’re delivering the festival for,” Bassadone explains. “We want to get really creative. For example, there’s some lovely trees on-site that I’m planning to hang some really cool things on. We want to do some cool lighting and projection, and we want to hang some amazing decor.”

Moving forward, Bassadone acknowledges that the large-scale festival is one of a handful of truly independent festivals that is selffunded. Therefore, he is working hard to get WOMAD to a point where it’s at a scale that is financially viable for the long term. The beauty of WOMAD is that it’s not headliner-focused so it does not sell tickets based on artists and doesn’t need to find a big headline spend.

Naturally, WOMAD needs to sell X number of tickets to make everything worthwhile so by starting from scratch, Bassadone now has the opportunity to create an even better experience that is sustainable.

Bassadone concludes. “It’s not just about coming into a festival and going, ‘Oh, look, there’s all the stages’. It’s about being able to go on a bit of a journey so when you turn the corner, there is a wow moment and that’s the magic I am focusing on.”

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BACK DOUNE THE RABBIT HOLE

Guess who’s Back Back Doune the Rabbit Hole’s Brian Harkin on bringing back a festival brand and making sure it’s not a flop desperate to launch your own Y ou’re festival and you start looking for a

site; yet when a mate tells you about a prime location BUT it’s associated with a festival that’s got “history”, would you A) run a mile or B) opt to turn things around?

Hmmm, StandOut’s curious as to which option you’d go with but when we chat with Brian Harkin, musician and festival director, he’s keen to walk us through his decision and the last 15 months that have totally consumed his life.

In September 2024, Harkin and Rock Artist Management’s Paul Aspey revealed that they were bringing Back Doune the Rabbit Hole back to life. The much-loved family-

BACK DOUNE THE RABBIT HOLE

All images: © M J Windebank Film and Photography

20 n www.olympuscrew.co.uk

friendly festival returned to Cardross Estate, Stirlingshire, in August 2025 with a new management team. Yet, with just weeks to go before the three-day event, Harkin and his team were still getting a rough ride.

Previously, the festival had run for ten years on the Cardross Estate. The event was cancelled by its previous management team – Festival Beverage and Property Services – after BECTU issued a warning to its members outlining its “serious safety concerns” over the running of the festival.

Most organisers would not touch a name banded

about in a very public argument but this small matter did not phase Harkin. He takes up the story: “I was trying to put on a festival near Loch Lomond. I had the land agreed but about two weeks before we were meant to sign a deal, the landowner quadrupled the price. This meant the venue was no longer viable but he told me about an estate that had previously run a festival.

“At that point, I had heard of Back Doune the Rabbit Hole but didn’t have any real knowledge of it. I visited Cardross and Alastair [Orr Ewing, the director/owner], and he asked if there would be any merit in myself and Paul trying to bring back

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BACK DOUNE THE RABBIT HOLE

what was there before,” Harkin continues.

“Alastair explained that the festival was much loved for the ten years that it had run and so he said rather than start a new event, I should consider the possibility of speaking to the previous owners to see if they were OK with us taking ownership of Back Doune the Rabbit Hole and bringing it back.”

DIFFICULT TASK

Harkin and Aspey spent a good month looking into the festival’s history. The first thing that screamed out at the pair was the amount of negativity on social media towards the event. However, when they dug a bit deeper, they could also see a lot of love for what once was.

Harkin adds: “It seemed that all the negativity was from the media, performers, and suppliers who never got paid.

“That swayed us,” he admits. “We were aware of how difficult it was to get into the

festival scene, and we knew that starting a new festival was going to be a difficult task but we thought, right, there may be something in this, and we just have to accept what’s going to happen when we announce that we’re taking over and be ready with the right PR.”

TRANSPARENCY

Harkin and Aspey decided that taking over the name and telling the festival’s fans that Back Doune the Rabbit Hole was under new management would be an easier option than starting from scratch.

“I’ll admit that when we made the announcement, for about six weeks, I thought we had made the wrong decision,” Harkin explains further. “We got a lot of stick on social media and it got quite intense.

“The only thing that kind of gave me comfort is my PR team who said that the best way to move forward was to be absolutely upfront and transparent about what we were

doing and why we’d decided to bring it back.

We loved the name. We recognised that it was a festival that just grew over the ten years that it ran and there was a lot of love for it. We could see that, so we opted to turn things around.”

It took Harkin and his team roughly three months for people to accept the new team and that the new management had nothing to do with the old company. But some persistent “punters” tried to throw fuel on a fire that was fizzling out. Perseverance paid off.

STRESSFUL

Harkin says that it was easy to build a picture of what worked and what was good about the event. Moreover, all of Back Doune the Rabbit Hole’s good points married with Harkin’s original plans for a new festival – to create a family-friendly event that was more than a bunch of headliners. “So how did year one work out?” StandOut asks Harkin.

www.olympuscrew.co.uk n 23

BACK DOUNE THE RABBIT HOLE

“Absolutely amazing,” he says with a buzz in his voice. “I couldn’t have hoped for it to have gone any better, to be honest with you. The feedback we got was incredible. I mean, it was stressful, don’t get me wrong, it was very, very stressful. I pulled in every favour that I had available to me, and we got there.”

LESSONS LEARNED

However, the negativity experienced at the beginning of the event was not the only challenge Harkin and the organising team had to face.

Aspey had previously worked with Wannasee and used the company to book bands. Harkin says that Back Doune the Rabbit Hole paid Wannasee £200,000 for services, bands, and performers but when Wannasee went into liquidation in early 2025, he found out that the monies that he had paid to Wannasee had not been passed on to the bands that were booked for the festival.

As a result, one band took to social media and announced that it was pulling out of the festival because it had not been paid by the “promoter”. This immediately sparked a backlash.

“We were out of pocket for £200,000 about 14 weeks before the event, and nothing was booked that was meant to have been booked,” Harkin continues. “It was a real blow. We got another massive backlash of negativity. The media made it look like we hadn’t paid the bands and everyone started saying that we were like the other company,

24 n www.olympuscrew.co.uk

we were going to rip them off, and cancel.

People were on social media telling others not to buy tickets. After everything we’d gone through at the beginning, things had settled down and it just blew up again.”

“So what did you learn from that?”

StandOut asks.

Harkin adds: “I literally learned how to put on a festival in the space of 14 weeks and made connections with all the suppliers and all the booking agents and luckily, most of the agents – some of whom had also been burnt by the Wannasee thing – fully understood what had happened and committed to sticking with us.”

LICENCE

Over the next three months, Harkin learned how to put up Heras fencing, build a stage, and drive a telehandler. He worked with John Wilson, director of Field and Stage, to put the site together.

Harkin continues: “I had never done this before. There were so many aspects that I had to learn, literally, on the hop.”

Harkin, Aspey, Wilson, and the Back Doune the Rabbit Hole team pulled it off. Three thousand happy punters enjoyed the festival and now Harkin is hoping to increase the festival licence to 6,000 for 2026 and there’s an ambition to go to 10,000.

PROVING A POINT

In 2026, Back Doune the Rabbit Hole is coming back with a bigger bang. The

festival will feature an additional stage, Harkin is expanding the wellness offering, concentrating on look and feel, and is focusing on making the festival more of an “experience”.

“We are not massively changing the site layout this year,” he says. “We probably will in 2027, but next year, we have to match what we did this year and make it better.

“What we don’t want to do is run before we can walk. Last year, although, like I said, it went amazingly well, and the feedback we got was incredible, I feel that although we proved a point and built confidence, next year is more important.

“We proved all the naysayers wrong but interestingly, right up until the week before the festival, we still had people on social media saying things like, ‘I can’t believe you fools are still buying tickets’. Since the event, we’ve not had one comment like that at all.”

Back Doune the Rabbit Hole 2026 features a line-up that includes Alabama 3, EMF, Huey Morgan, and The Amy Winehouse Band and the headliners are yet to be announced.

So far, ticket sales are up by roughly 20 per cent compared to where they were this time last year, says Harkin, and people who had previously got their fingers burnt are starting to show an interest in the “new” festival.

“What do you say to that?” StandOut says.

“I think we’ve proved our point,” Harkin concludes.

Back Doune the Rabbit Hole will take place from July 17-19, 2026.

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EVENT CONTROL EVENT COMMAND IN ACTION

Log and learn

Event control is a vital function and the beating heart of an event site.

Event professionals discuss control room best practices this year, StandOut magazine E arlier joined event professionals in

Birmingham on a Control Room Operations Management Course run by Controlled Events. The purpose of our visit? To listen and educate ourselves on the key aspects of effective control rooms and develop a deeper understanding of the function that some people can find intimidating.

All of this preparation stood StandOut in good stead to volunteer at The Boat Race 2025. Working alongside Chris Price, event director, JPC Safety’s Dan Jones, health and safety advisor, and Controlled Events’ MD Rob Walley, the event’s control room manager, StandOut monitored social media – because we all know how people love to complain on social networks about things they are unhappy with!

It was StandOut’s job to look for negative comments, imagery, and log any incidents being reported using Controlled Events’ ECR Manager, documenting any findings and recording any evidence. It was a day that passed without any major incidents, with a well-behaved crowd and no grumbles reported on social networks. Great stuff. It meant everything was running as planned.

However, any savvy event professional knows that’s not always the case.

Ben Sidaway, managing director of Event Command, can relate. “I was working on an event over the summer and there was an

26 n www.controlledevents.com

incident where we had a man sexually assault someone,” Sidaway says. “They ended up getting arrested for that sexual assault, which would be a really, really good result but we then found out – over social media in the days after the event – that he’d actually been going around harassing loads of other people.

“These people had posted videos about it at the time and in the days after the event, but we were only aware of the one instance. That’s something all event professionals need to be aware of – TikTok, Snapchat and Instagram know about stuff before the event control room (ECR) or steward does.”

Sidaway believes this to be a real challenge.

There is a generation of attendees and festivalgoers that are not going up to a steward to report an incident. They might text or use an app to send a message, signalling that people feel more comfortable with tech than talking to a person. Therefore, he says, event organisers need to make sure customers have a range of ways that they can report an incident, the way ECR managers handle reports needs to change, and tech needs to evolve.

AUDIT TRAIL

This is particularly important as guidance for the Terrorism (Protection of Premises) Act 2025 – also known as Martyn’s Law – will soon be published. Organisers will need to better prepare their venues and chosen event spaces for any kind of terrorist incident if they

do not wish to risk enforcement action when the legislation comes into play in 2027.

In the event of an incident, organisers, control rooms, and venues will need to show the decision-making process and how and when those decisions were evidenced with a clear and robust audit trail that details the information received and the action taken.

This is of great importance to live event organisers who – because of Martyn’s Law – have started to pay more attention to ECR as a function, many event controllers believe.

WE HAVE A RESPONSIBILITY

Neil Minter, founder of Mint Command, which offers control room management and support, agrees with Sidaway. The logging systems that people use and the technology that organisers chose to adopt – whether that’s Controlled Events’ ECR Manager, Chronosoft’s Chronicler software, or Halo Solutions’ Halo system – will impact how events are run and how they evolve.

Therefore, Minter, who works with London Marathon Events, Goldline Events, and London Stadium, believes that choosing the right incident management software is vital.

This is a point that resonates with Ian Nolan, projects director at LS Events. This year, the event production company opted to switch providers, moving from Chronosoft to Raven.

And after 12 months of successful event delivery using Raven, Nolan is now able to

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EVENT CONTROL

IAN NOLAN (he/him) offer an honest reflection of an entire season using the event control platform.

“We believe that if there’s a tool out there that helps us do our job better, safer, or more intelligently, we have a responsibility to use it,” Nolan explains. “What sets our collaboration with Raven apart is not just the ability to consistently work across teams and organisations, but the flexibility the platform allows for live updates to the backend system. Our clients, suppliers, and production partners can all be looped into the same system, giving everyone a shared view of the operational picture whilst building specific categories to ensure specific allocation of tasks. This is real-time, dynamic event control, where LS Events is able to harness data, and learn from events on the ground as they are happening, spotting trends and instantly adjusting when necessary to bring these learnings forward from event to event.”

TRACK INSIGHTS AND TRENDS

LS Events produces a wide scope of multi-

sector and mass-participation events. From live music at BST Hyde Park and complex multi-site operations at Pride in London to the management of iconic central London locations for events such as This is Oxford Street and cultural events in Trafalgar Square.

“A key role of event control is being flexible and dealing with real-time situations with the best resources we have,” Nolan continues.

“Raven puts us in control; it allows us to track insights and trends in real time and it gives us the flexibility to add new accounts or change access requirements ourselves at the click of a button to match our exact operational requirements.”

After 12 months of working with Raven’s logging platform, LS Events is now collaborating with the business to explore how it might further integrate its internal SOPs and processes. Nolan says it’s so important that LS Events is able to work with a provider who can harness its expertise and effectively deliver the level of excellence it expects for its clients, no matter what size or scope.

“A strong working relationship with your system provider is crucial, regardless of which platform you choose,” Nolan adds “Both Chronosoft and Raven offer exceptional support. Your logging platform becomes a central part of your event management toolkit, so you need confidence that the provider understands your needs and can support you through each phase of development.”

But what advice would Nolan give to anyone looking to develop their event control function or change their logging software provider?

“Start simple and be very clear about what you need the system to achieve,” Nolan says. “When we worked with Chronosoft, our single-focus project needs meant the system worked well for us. But as the scale and complexity of our projects grew, we realised we needed a platform that can wrap around concurrent projects, across multiple locations, ultimately leading us to transition to Raven.

“As we now deliver Pride in London, BST Hyde Park, and Barcode Festival all on one weekend, Raven allows our senior management team to have a centralised oversight of all event logs. That shift highlighted just how essential it is to choose a system that can grow in capability as your organisation grows in complexity.”

PROPER CONTROL ROOM

But LS Events is not the only event business to look at its ECR function. This year, Event Glue’s Lou Woodward and We Organise Chaos’ Clare Goodchild developed a new event control set-up for We Out Here, the organiser of Dublin Half Marathon invested in Controlled Events log platform and control room training and has since adapted its control room layout and processes, and Dave Sammons, director of Events Resilience Group, worked with the organiser of Southall Nagar Kirtan, a Sikh cultural festival, to install and deliver a co-located multi-agency control room for the first time.

Nagar Kirtan runs twice a year (April and November) and following an incident in April, there was uncertainty as to whether the event would go ahead in November. After much deliberation and planning, a “proper” control room was set up, giving the organising team and all stakeholders a joint operational picture.

Lessons were learned and for 2026, Sammons already knows that he will need a bigger room to accommodate all parties and that some departments in the room need to be situated closer together… but that’s down to layout.

SETTING THE CULTURE

Walley believes that how you design an event control room has a massive impact on ECR. There’s this expectation for everyone in an ECR to play nicely even though an ECR is often made up of a bunch of people that may never have met or may have only spoken weeks’ previous. Hence, an effective ECR layout is key.

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EVENT CONTROL

ROB WALLEY (he/him) Likewise, culture plays a huge part, too, says Sophie Phillip, an event freelancer with significant event control room manager experience. She believes that an effective control room needs one thing – someone that can own the room and hold the space.

She explains: “If you want a room that is full of respect, where people are kind and not blaming each other, then as a control room manager, it’s on you.

“A control room manager can make a control room very stressful or they can make it very calm. But if you are the manager, it’s your responsibility to remove people from the room or have conversations with people if they are not giving the right kind of vibe.

“You have to set the culture because you’re responsible so if someone’s being an arsehole, you’re the one who’s got to have a conversation with them. You’re the wave of calm for everybody because the heavier things get, the calmer you need things to be.”

Walley agrees. He says that the biggest variable in a control room team is the people – so often this is a temporary group who have to form a unit, work to shared objectives, and respond to foreseen and unforeseen events.

Yet, there are several things you can do to make an ECR run smoothly. He says: “Shared briefings in advance, common resources in the room (plans, log, catering, and briefings) and mini readiness scenarios to create muscle memory for responses to key risks can all help to break down organisational barriers and to help form an effective team.”

Furthermore, Minter believes that the people you allocate to certain roles can have a huge difference. He explains: “You have to make sure you are deploying the right staff for the right roles. We might have some team members that are particularly good at managing control channels for route operations on running events, whereas some people might be more suited for running a control room channel at a festival – quite different in terms of what you deal with, although the principles are the same. Having that specific knowledge means you’re able to pre-empt things more.”

JUDGEMENT CALL

Employing the right people for the right role

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is crucial especially when potentially lifechanging decisions need to made in a matter of seconds and the smallest bit of information could make a huge difference.

Minter adds: “We drum into our teams the importance of making sure we’re capturing detailed logging, even the obscure things.

Too many times, people in the control room go, ‘That’s not important. We don’t need to log that’. Then, funnily enough, two weeks later, ‘Oh, that thing you didn’t log, I’ve just got an email on it’. People can start to make judgements on what they find to be important, which is why there are huge benefits to logging systems with the ability to give organisers data that can be broken down into a comprehensive manner.”

NEW FEATURES

There are a number of event control software options on the market, which are constantly

developing new features to meet the demands of live events. For example, Event Command’s incident management software has a new resident reporting feature. It means residents no longer need to phone in to report an incident or complain. It also means that a team member does not have to be shouted at by an angry resident because the resident can now fill in a web form that generates an incident on Event Command’s platform and alerts the control room immediately.

Similarly, Chronosoft’s platform has enhanced functionality, which enables organisers to update standard operating procedures, agency info, and location data themselves so they are less reliant on Chronosoft to make the updates. This gives the organiser more control and speeds up processes, making event planning and operations more efficient.

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PRIDE IN LONDON OPEN DOOR POLICY

Event control is the beating heart of an event site that’s touched by so many different functions – from stewarding and medical to operations and traffic management.

Therefore, all event professionals need to understand how their actions, the language they use, and the information they share can have a massive impact on what happens next.

It’s a view that’s shared by so many event controllers, who agree that more event professionals could learn a lot from doing a shift in an event control room. But that requires more organisers to be willing to open their doors and let people in.

DON’T BE SCARED

Phillip is a firm believer in making sure anyone working on site is not scared by event control. They should be encouraged to report even the smallest thing that could end up

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being the most vital piece of a puzzle. She explains: “A control room is not a big scary room, it’s just the place where some people are trying to help everyone. That’s it.

“When I ask someone to come to the control room, I have to tell them why. Because if you say to someone, ‘Please, can come to the control room’ with no context, they absolutely shit their pants.

“For me, the control room is where I work, it’s often a tent, and sometimes I need to have real conversations with people or look at something on a map together.”

WELFARE

Phillip underlines the importance of building a rapport with everyone in ECR and even leaves a simple room plan – with names – for the team taking over the night shift. She also believes that an ECR is not a space for “chat”, meetings need to have an agenda,

and contractors need to have submitted any data and updates prior to an ELT meeting so there’s time to digest information before meetings start – and members of any SAG begin to scrutinise your competence!

Sammons adds: “I think some people think you can just walk into a control room and work in a control room. A lot of people think it’s easy but whilst it may not be as physically draining as doing 30,000 steps a day, it’s mentally and emotionally exhausting.”

Chrissie Gilbert, a senior event controller at Site Dog and operations manager at Chronosoft, the incident management software provider, agrees. She says that postevent welfare checks have become more prevalent because some things experienced on an event site can be mentally exhausting and traumatising for those involved.

“It’s important to consider the things that people see,” Gilbert explains. “Often in

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EVENT CONTROL

MINT COMMAND ground to do? If I am asking a team member to go up to someone and deliver a message, and they’re probably going to get punched in the face, I kind of have to both feel the punch and the emotional impact of what I’m asking them to do.”

BEST PRACTICE

DAVE SAMMONS (he/him) event control, you don’t see things, unless they are actually on CCTV. But you hear the panic in people’s voices on the radio and get photos on WhatsApp. Your brain can start to build a mental picture, which may or may not be better or worse. And it’s usually worse because your imagination will fill in the gaps, whether you mean it to or not. Therefore, over the last few years, I’ve looked at how we can support those teams who see horrible things and make sure they’re not taking it home or if they do take it home, who is calling them to check in on them?”

ON THE SAME TEAM

Both Phillip and Sammons agree that good ECR managers need to have worked in roles on the ground and have experience of being on the frontline.

Sammons continues: “Too many people go into control rooms and never leave and I think they lose context because they forget what it’s like in the real world. Yes, an event control room is the beating heart of a site.

However, without everything that supplies that heart, we are nothing.

“Control rooms are as good as the information it receives, so you need to understand the teams on the ground. We are all staff members wearing the same uniform, working for an event,” Sammons explains further. “But also what is the impact of that thing that I am asking someone on the

32 n www.controlledevents.com

Sammons says that it’s his personal belief that not enough event control rooms build a rapport with on-site team members. He adds: “If we don’t support the staff on the ground, they’re not going to support us.

They’re not going to tell us stuff, they’re not going to feed into us, and if we don’t know, we’re not in control.”

So, what’s the best way for an ECR manager to build rapport with others and what other best practice advice would ECR managers say makes event control more effective?

Gilbert explains: “I would love it if organisers involved event controllers earlier.

Don’t expect them to come in and command a room if you’ve only booked them for half an advance day. Invite them to the SAG, invite them to the tabletops and give them some planning time. Give them time to read the documents, and time to come back to you and ask you questions. Let them do the room layout, let them request what furniture they want, ask them what radio set up they prefer and let them become part of the ops team.

“Make sure that there’s time for that ECR manager to go around site and speak to people so they’re not a stranger at the end of a radio,” Gilbert adds. “I will walk a site, and I’ll ask the site manager or site coordinator to take me around, because they’ve built it and they know it the best.”

MORE BEST PRACTICE

Gilbert believes that organisers need to specify how they want information recorded and whether they want it logging in a certain way. Therefore, it’s vital that an organiser spends time with their chosen ECR manager to discuss ECR software login platforms, and how data is going to be used at the end of a show. But that’s not all. Many event controllers have preferences on radio set ups. Some prefer a handheld radio with an

earpiece and others love a base station.

And you may think that as an organiser, it’s your prerogative – and budget – that states what someone gets. However, an event controller’s role is so key that surely they should get to specify their preference if you want them to perform at their best?

Gilbert continues: “Think of it as, what are you asking that controller to do? For example, does your SOP state that if you go to amber, they’re going to inform every radio channel simultaneously? Yeah, well, how are they going to do that if you’ve not requested no call functionality? So it’s almost like you’ve written your SOPs and you want a controller to implement them, but how can they do that if you’ve not given them the right kit to do so?”

Radio comms in event control is a hot topic.

Sidaway says that following the Kerslake Report into the Manchester Arena attack, more organisers are double checking that their radio systems are up to scratch and suitable based on recent National Protective Security Authority guidance. And Minter adds that thankfully, many responsible clients have started to review their comms structure, removing people from radio channels if necessary so that comms can be more effective and event control can deliver what the event actually needs.

But what does your event need and when was the last time that you took a long hard look at whether your event control really is delivering for the size of your event? Could it be better? Could you make any tweaks?

Walley says that we are currently living in a TUNA (Turbulent, Uncertain, Novel, Ambiguous) risk environment. He says the after shocks of the budget and economic challenges have put real pressure on events, venues, and organisers. As a result, he says that some organisers have undertaken less readiness exercising and more organisers are looking to reduce spend, particularly where no “big bang” incident has caught them out in previous years.

But just because it hasn’t, doesn’t mean it won’t. Hence, with the introduction of Martyn’s Law looming, the event control function and the importance of logging every incident and your decision making process has never been more important – it’s time to log and learn.

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THE GREAT BRITISH FARM FEST

ALEX JAMES (he/him)

Making hay…

Stable Events’ James Gower on the creation of The Great British Farm Fest that look like celebrities, weirdS heep shaped vegetables, and Jeremy

Clarkson. What more could you want from a new event celebrating great British farmers.

But all jokes aside, that’s just a flavour of what visitors can expect when they walk through the gates of The Great British Farm Fest in May. Combining the traditional joy of a large country fair with the energy of a modern music festival, The Great British Farm Fest is being curated by the brains behind The Game Fair, Taste of London, Top Gear Live, and the Blenheim Palace International Horse Trials.

But unlike these classic live events, The Great British Farm Fest will have a “twist”.

James Gower, managing director of Stable Events, just one of the creative and business minds behind the new three-day event at Stoneleigh Park, Warwickshire, explains all: “The Great British Farm Fest is the result of two projects aligning. Our traditional countryside business had been talking to Stoneleigh about the old Royal Show and whether there was a chance to revive it. Meanwhile, my business partner Richard Hease had been to an AEO reunion and Chris Hughes [ex Brand Events] was

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JAMES GOWER (he/him) talking about running a modern day country show with some old colleagues of his, and Jeremy Clarkson.

“Richard said, ‘Well, hang on a minute.

We’re looking at possibly doing a modern version of a country show and so are you, so how about we join forces?”

SUPPORT

That first conversation took place roughly seven months ago and The Great British Farm Fest launched in November. Already, the event has support from Clarkson, Lisa Hogan, Kaleb Cooper, Charlie Ireland, all stars of Clarkson’s Farm, and farmer and

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THE GREAT BRITISH FARM FEST television presenter Adam Henson. But that’s not all. There’ll be music from Sophie Ellis-Bextor, Alex James, and Groove Armada in the Hawkstone Music Arena and sector support from the Royal Agricultural Society of England, the National Federation of Young Farmers’ Clubs, and the Farmers Guardian. It’s an incredibly positive start. However, with the event taking place from May 22-24, 2026, the organising team does not have much time to organise an ambitious new concept.

CLARKSON TWIST

According to Gower, Stable Events has huge expertise and understanding of the countryside and Hughes has a “big skill set” around food and drink. Therefore, roles and responsibilities are being split so that all parties can work to their strengths. Catherine Bishop, Stable Events’ head of operations is overseeing ops but for The Great British Farm Fest, Rupert Bassadone’s Ops People has been contracted to provide site management and operational support whilst Fixr has been engaged for ticketing.

“We also have the support of Stoneleigh, which was the place where people used to come together to celebrate agriculture,” Gower continues. “We’re hoping to bring some of that heritage back and celebrate British agriculture in a modern way, with a Clarkson twist.”

DIFFERENT HYBRID

Gower says that Clarkson’s Farm, Clarkson’s pub called The Farmer’s Dog, and Clarkson’s Hawkstone brewery – all powerful brands – have enabled the team to accelerate event plans.

He hopes that The Great British Farm Fest will capture the hearts and minds of a family audience, a generation who remember old farming techniques and a new generation that is keen to discover modern methods.

The event will be a marriage of old and new and Gower expects the show to

LISA HOGAN (she/her) AND JEREMY CLARKSON (he/him) appeal to an audience hooked on watching Clarkson’s often comical foray into the world of agriculture.

Gower adds: “The Great British Farm Fest is not a traditional country show; it’s a country show with a Clarkson-esque viewpoint, and then at night it turns into a music festival. It’s a different hybrid altogether.”

In year one, the organising team wishes to attract 60,000 people over the course of three days. Gower says that weekend tickets are the most popular and there’s a belief that Farm Fest Ltd has hit upon a concept that could grow legs and attract more than 150,000 people. Gower comments: “I think that the audience is going to be interesting.

We hope that we’re going to see people that traditionally go to shows but we know we’re going to get a huge number of people that are fans of Clarkson’s Farm so it’s very likely we’re going to introduce a whole bunch of new people to the best of British.”

ONE OF THE GREATS

“Great British Farm Fest has the potential to be one of the greats,” exclaims Gower. “We’ve

set a low number of 60,000 people for the weekend but I think we’ll attract more and the timing of the show is never better.

“We organise The Game Fair and Blenheim Palace International Horse Trials but I don’t think there’s much crossover with this show.

We didn’t want to create a competitor but we knew we needed to create something that was complimentary.”

“Do you still get excited about launching a show?” StandOut asks.

“Well, you kind of know you’re alive, don’t you?” Gower answers. “Chris is The Great British Farm Fest’s festival director. He is notoriously creative and he is quick so the pace on this show is rapid.

“Over the next few months, there’ll be a lot more engagement with the talent, marketing will really kick in and then there’s all of the normal planning, organising, and meetings.

“There will be some special attractions that we haven’t announced yet, which will need some special skill sets so in terms of what’s next, there’s a lot of traditional organising to be done around a non-traditional event and I am really looking forward to it.”

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EDINBURGH INTERNATIONAL FESTIVAL

SCOTTISH CHAMBER ORCHESTRA All images: © Scottish Chamber Orchestra

A festival for everyone This year, Edinburgh International Festival presented its first-ever dementia-friendly concert.

Read on as Callum Madge, access manager, reveals how EIF made this powerful performance happen marked an important milestone in Madge worked with Laura Baxter, director 2 025 accessibility for Edinburgh International of creative learning at SCO, which jumped at

Festival (EIF). It was the first time that the major cultural event had ever programmed a dementia-friendly concert.

Listening to and enjoying music is a powerful universal experience. Hence, the EIF’s organising team was determined to include a concert in its programme designed specifically for people living with dementia, their caregivers, family, and friends.

Callum Madge, access manager at EIF, played a key role in the concert, a creative initiative of the Scottish Chamber Orchestra (SCO). But how did the concert come about and what did EIF and SCO do to make sure all attendees had a great experience?

Madge explains: “We raised the idea of a dementia-friendly concert as a possibility in 2024 but there wasn’t space in the programme to make it happen that year. But then, when we had a bit more lead-in, we were able to fit it into the 2025 programme.”

SMALL CONSIDERATIONS

Madge is keen to make it clear that EIF is not a pioneer of dementia-friendly performances. But the organisation had the foresight to work closely with SCO, which had already devised a programme of music for people living with dementia; a familiar repertoire that guests of all ages can enjoy in a relaxed setting and environment.

the chance to perform one dementia-friendly concert as part of EIF’s programme of events. .

Madge continues: “We had to work with SCO to find a time in one of the many different venues that we use. Luckily, SCO regularly performs in Edinburgh at the Queen’s Hall, which is an EIF venue. SCO had previously performed a dementia-friendly concert at Queen’s Hall so we chose the venue for a good number of reasons.”

For example, Madge says Queen’s Hall’s front of house team is patient and understanding and the venue even has access to special mugs that don’t break and are easy for customers to hold. It’s small considerations like these that can make a big difference.

WELCOMING ENVIRONMENT

For the event to successfully take place, thoughtful tweaks had to be made to the standard concert setting. For instance, a reduced audience capacity and informal cabaret-style seating made people feel more comfortable. Dark areas can be intimidating for people living with dementia so the house lights remained on. Furthermore, the audience was free to move around, come in and out of the main room as needed and make noise throughout.

Yet that’s not all. The auditorium was open at 2.30pm, giving people time to settle

into the space before the performance began and tea, coffee, and cake were brought to attendees in their seats, making the performance feel more like home.

Finally, a quiet area was situated close to the auditorium, giving audience members somewhere to go if they needed to take a break from the performance.

Madge adds: “We wanted to keep the concert very chilled, so the front of house space wasn’t too crowded, and we had cabaret-style tables and seats to make the concert feel a bit more informal. There was more space for people to easily move around and space if they needed to get up and go to the toilet. Small things created a much more welcoming environment.”

GROUND RULES

However, physical access was not the only consideration. Madge explains further: “We produce a free sheet for all of the events at the festival, but it has quite a small font and is printed on yellow paper with black ink because our branding is yellow and black.

For the dementia-friendly free sheet, we used a much larger font, and used white paper with colour photos and black text. This free sheet didn’t fold down like our regular free sheet either because we didn’t want to over-complicate things.

“We also insisted on having a presenter, which is something different to how SCO

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EDINBURGH INTERNATIONAL FESTIVAL

does things. Lucy Drever, our discovery and participation associate artist, presented the concert and explained what was going to happen and laid the ground rules for how this concert was going to be different from a more traditional concert environment.”

INTIMATE CONNECTION

SCO started performing dementia-friendly concerts in 2023 and has learned a lot since the beginning. More than anything, Baxter and the SCO want guests to have a “really joyful experience” where they feel connected to SCO as an orchestra. This was also key at the EIF concert.

Baxter says: “We’ve worked incredibly hard to make guests feel comfortable. Even our musicians have grown in confidence to move around the auditorium and not just stay on the stage. This creates an intimate connection between the musicians and the audience, and we couldn’t do that without the support of stage managers who understand what we’re trying to do, and staff who are there to help.”

Baxter continues: “We’re also very mindful of the mood that we’re trying to create and how people living with dementia might be moving at a different speed and through different emotions. So we try to play music that might be familiar to them.

“We have people get up and dance with their carers, clap, or hum, and so our musicians have worked very hard to refine the arrangements of music that they play so that

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they’re creating an hour of different musical experiences, but all with the intention that people can connect to each other and with us.”

TIMINGS

Madge says there is a huge desire for the concerts to be seen as welcoming. He believes this was achieved in 2025. Equally, some lessons were learned.

He adds: “I think something we learned is how we advertise the concert. Normally, you’d state the concert’s start and end time but people booked their taxis for straight after the concert finished. Because we ran over a little bit, some people were having to leave very quickly. I think if we were going to do it again, we would talk to people about staying for a little longer.

“We also need to look at how we structure the concert timings so that our concert takes place within the normal hours of when any dementia groups usually meet.

“We need to understand what time of day is best for that audience,” Madge explains. “If you were working with schools and you had a show which finished after the school day finished, the parents would not be happy so it’s important to look at timings and create the most friction-free experience.”

LOOKING AHEAD

Currently, EIF is digesting the feedback from this year’s event but it does want to programme another concert. The SCO would

also love to partner with more organisations to take its dementia-friendly programme further afield so it can reach as many people living with a dementia as possible.

Madge comments: “I think it’s certainly an ambition that we are pursuing wholeheartedly, and we are interested in looking at other forms of music that could work as a concert.

“One of the pieces that got the most toe tapping from the audience was an instrumental version of The Bonnie Banks of Loch Lomond so the songs that people listened to in their twenties reignited a spark, which was really nice to see.”

Moving forward, Madge and the EIF team would like to create an environment that upholds the quality of an international festival performance but does away with the more formal elements of a traditional concert. But more importantly, Madge is keen to build on another big step that the festival has taken to being more inclusive.

“I’m a big believer that if you’re going to do anything like this, you need to speak to some kind of expert,” Madge concludes.

“We had some dementia-awareness training from Age Scotland. They came into our office and worked with some of our team. This was great so if you’re an organiser thinking about putting on a dementia-friendly event or concert work out who is going to be your best delivery partner – whether that’s an artist or venue – and go from there.”

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VENUES MANCHESTER UNITED’S PROPOSED NEW STADIUM

Images: © Olympia London/Foster and Partners/Propaganda

Space to explore Venue choice has a huge impact on guest experience. Here, StandOut looks at the venue market, including venue launches and improvements United’s proposed new M anchester 100,000-seater stadium (designed

by Foster and Partners), Birmingham City’s planned 62,000-capacity Powerhouse Stadium, and Wrexham AFC’s stadium redevelopment that will increase capacity to 18,000 are among 22 venues set to host multiple football matches at the FIFA Women’s World Cup in 2035.

Earlier this month, the English FA, Irish FA, Scottish FA and FA of Wales officially submitted their joint bid to host the competition, and if successful (FYI, there are no other bidders) 22 stadia across 16 UK cities will collectively welcome 4.5 million ticketholders to the largescale sporting event.

These new venues and venue upgrades signal an exciting time for the events industry. Over the next decade, UK stadiums – including a new Chelsea FC stadium – are expected to be elevated well ahead of the tournament, giving sports fans access to stateof-the-art facilities and promoters access to

42 n www.olympuscrew.co.uk

a plethora of big new concert venues. Their presence is expected to enhance the venue landscape and these developments perfectly demonstrate how fundamental world-class venues are if the UK wishes to attract worldclass events.

NEW VENUES AND IMPROVEMENTS

The great news is that the UK is already experiencing a huge period of growth in terms of new venues and venue developments, meaning that organisers don’t have to wait several years before they have an even greater choice of event spaces for live events, and more.

For example, Broadwick Group – the company behind Printworks London, and Manchester’s Depot Mayfield – has secured a new financing partnership to accelerate its next phase of expansion, Sheffield City Hall and the Utilita Arena Sheffield are to receive significant investment to improve infrastructure and backstage tech, and Forum

Digbeth has announced a major expansion that will double its capacity from 2,000 to 4,000 with the addition of an adjoining warehouse space called The Annexe.

Furthermore, Broadwick has entered a new partnership with Troxy and plans to increase capacity and add new facilities, and AEG Presents UK has officially opened the booking diary for its 3,800-capacity state-of-the-art, purpose-built live music and events venue at Olympia, London called British Airways ARC.

BUSINESS CASE

Broadwick’s new funding from Lloyds marks a significant milestone in the company’s long-term strategy to scale its portfolio, which consists of 24 venues in the UK and US. The eight-figure investment will support the recent acquisition of hospitality operator Camm and Hooper – adding iconic London venues such as Banking Hall, OXO2 and 26 Leake Street to the Broadwick portfolio – alongside major site upgrades.

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VENUES Similarly, OVO Arena Wembley, which has recently completed phase one of its redevelopment, is now looking at phase two.

John Drury, general manager of OVO Arena Wembley, explains: “Phase one was completed this year and it has given us a number of areas backstage that help hirers, promoters, and the artists that come into our venue in a few different ways.

“So for example, we’ve created a new crew catering space that is bigger than the old one, which has freed up some space to create a plush lounge that has direct connections to the dressing rooms.

“The other thing that we have is the new Coors Lounge, a premium offering that has taken elements of the building itself, nodding to the history and iconic nature of the building.”

Drury continues: “Obviously, we want to provide packages, facilities, lounges, and seats that work for the customers that we have but we also want to make sure that in doing that, we’re providing something more for the hirers, for promoters, artists, and production teams that use the venue. And I think for phase one, we’ve managed to do both.

“For phase two, we are just going through the business case for that at the moment.

We will increase the standing capacity in the building. Crucially, it will give us a ground floor concourse, so that instead of just the one concourse, we’ll have two: one on the ground floor and one on the first floor. The one on the first floor right now is the one that feeds all of the seats and the floor. That will change so that the ground floor concourse feeds the floor, and the one on the first floor will feed the seats, essentially. This will give us more points of sale and make things easier for customers.”

UTILITA ARENA

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Whilst phase two has not been finalised and nothing has been completely decided, the developments are “very much in the plan”.

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VENUES

OLYMPIA LONDON “We want to stay relevant and important to the industry, which we know we are, but we want to make sure that we stay in that position,” Drury continues. ‘We see a lot of artists playing the arena for the first time and last year, we had 57 first-time headliners.

“I’m always touched by how important it is to the artists when we give them an award for playing Wembley for the first time. Invariably, they’re really excited to be playing Wembley and you wait for that ‘Hello Wembley’ moment, because they’re at a big stage in their career, or they’ve not played here before. It’s incredibly meaningful to them so, we want to reflect that in what we give them, in terms of facilities backstage, and what we give the guests. Hence, we’re on that journey now to do more in the next couple of years.”

INVESTMENT

Propaganda’s founder Dan Ickowitz-Seidler, along with Richard Buck, have not only

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PROPAGANDA’S RICHARD BUCK (he/him) AND DAN ICKOWITZ-SEIDLER (he/him) launched Propaganda Independent Venues but they have also acquired TEG’s UK venue estate. This includes Tramshed and The Globe in Cardiff, XOYO and Camden Assembly (formerly Barfly) in London, and XOYO Birmingham.

To support the operation of the venues and deliver back-of-house functionality, Propaganda Independent Venues has appointed Ghostwriter Consultancy and Events to manage ops, health and safety, inhouse booking, marketing, and ticketing.

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VENUES

TRAMSHED “We are going to invest in all of the venues,” explains Ickowitz-Seidler. “I grew up going to Camden Assembly when it was the Barfly and I celebrated my 18th birthday there. I’ve got so much love for that venue, and so I really want to restore that heritage and go back to the Barfly name.

“With XOYO London, we’ve just committed to quite a big spend on sound and light, because we’re conscious that we want to make it an incredible club and live music venue, at XOYO Birmingham, we’ve invested in some new lights and we’re giving it a bit of a facelift, and at The Globe, we’re going to be improving the dressing rooms.”

All of these improvements are on top of promises to not charge artists merch fees, operate a fairer ticketing allocation model, and ensure greater support for artists who play the venues, as well as promoters and customers.

Presents UK, the venue is part of the £1.3 billion transformation of Olympia, London, which in addition to British Airways ARC will feature a new international convention centre with an auditorium for 800, 30 bars, restaurants and eateries, and two hotels.

Peplow-Revell continues: “It’s a really exciting time. Our new venue British Airways ARC in Olympia will be a brilliant addition to our portfolio, opening up even more opportunities for client product launches, awards, and special events.

“AEG is a world leader in live entertainment venues, and having the opportunity to grow our corporate and special events division alongside that is an incredible opportunity.

We’ve recently recruited a dedicated crossvenue role to help clients navigate the portfolio more easily, and we’re continuing to grow the team so we can build on that success.”

BUILD ON SUCCESS

OPPORTUNITIES

Like, Ickowitz-Seidler, Jo Peplow-Revell, director of corporate and special events at AEG UK Venues, is excited to crack on with several venue developments and work with organisers and promoters to create amazing events.

Right now, she is working on some hugely exciting client events for 2026 while also focusing on launching Watford Colosseum and University of Wolverhampton at The Halls to the corporate market. Watford Colosseum has just reopened after a refurbishment, and AEG is now positioning The Halls in Wolverhampton to welcome more corporate and special events after a “brilliant year of live music”.

Peplow-Revell adds: “And, of course, we’re looking ahead to the opening of our new music and events venue, British Airways ARC in Olympia next year, which will be a fantastic new addition to the AEG family and a major opportunity for the corporate and special events sector.”

Set to open in 2026, British Airways ARC will offer both fans and artists an “unparalleled live event experience”. Operated by AEG

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Olympia’s transformation is gaining momentum with organisers now able to truly envisage what the venue will look like when it opens in 2026. As well as British Airways ARC, the estate will also be home to a 1,575-capacity theatre led by Trafalgar Entertainment and 2.5 acres of public space that will be available to use for brand activations, art, cultural, and community events and festivals. The plethora of spaces available to hire means that organisers will have more choice and a range of venues for a variety of live events and special occasions.

Gareth Lloyd, business development director at Olympia Events, says: “Exhibitions will remain a focus and there are key points in the year when it is peak time for the exhibition market. But we also need to diversify and bring in more content that brings in different audience groups.

“We recently announced the first shows within our partnership with SJM and we plan to bring five consecutive nights of music to Olympia in December 2026 so by showing

GARETH LLOYD (he/him) people that live music is back in the halls, it will certainly help show the opportunities that are available to organisers.”

He continues: “For example, we’ll be announcing soon that a very large sporting event – a rapidly growing sport – will be taking place in the first week of August. Yes, it’s a ticketed event that’s taking place inside the venue but there will be opportunities to use our outside space and showcase the sport to the public. Things like that help to grow an event and get people more involved, even people who are just passing by, so it’s amazing that Olympia is now able to do that.”

Lloyd would love to use Olympia’s public spaces to create a family-friendly summer festival. Again, it’s yet another example of how versatile the venue will be. But what will stand out about the new Olympia, London?

Lloyd concludes: “I think it is an amazing combination of amazing events and amazing food and beverage retail in an amazing location, in London. I think that content will just draw people into a beautiful venue.

“When you walk around Olympia, and you walk around what will become the public realm, it’s unique and it’s beautiful so I think event promoters, organisers, and attendees will find the experience they have will be second to none.”

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BIG SCREENS

Packing a punch Big screens and LED display technology can bring an event to life. Read on and discover how brands and organisers are working with their production partners to create events with impact

UEFA EURO 2028 LAUNCH AT PICCADILLY LIGHTS Circus is synonymous with P iccadilly London’s West End, bustling nightlife,

and packed crossroads but when you mention the famous location, people automatically think of the iconic advertising screens that cause so many visitors to look up in awe.

In January 2017, six huge screens were turned off to make way for one giant 780 square metre ultra-HD display that’s now called Piccadilly Lights. There’s no denying that the large digital landmark – created by Ocean Outdoor and owned by Landsec – is a crowd pleaser, stopping tourists in their tracks. So when UEFA EURO 2028 wished to officially unveil its branding and match schedule on November 12, it’s of no surprise that it opted for a digital takeover.

The tournament brand was revealed to sports fans across the country at 20:28 local time on the giant screens in Piccadilly Circus.

Plus, in a series of events and activations across the UK, the new logo was splashed across digital screens in city centres.

In what Ocean Outdoor describes as “co-ordinated domination”, more than 150 of its digital screens were used for the tournament launch in four EURO 2028 host cities – Newcastle, Liverpool, Manchester, and Birmingham. This perfectly demonstrates how large screens can be used by brands that

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want visibility, which is why Piccadilly Lights and The Venue, a high-tech space beneath the screen, were also used by Disney for the red carpet sneak peak of TRON:Ares.

In The Venue, Disney used four ultra-HD+ interactive screens, immersive 3D visuals, lighting, and audio, all integrated with Piccadilly Lights to make an impact. Yet, it’s not the only organisation to have recently opted for a big screen takeover to launch a product.

Adidas showcased Trionda, the official match ball for the FIFA World Cup 2026, by using all 580,000 square feet of LEDs that comprise the Las Vegas Sphere’s Exosphere – the iconic exterior of the now iconic venue. It’s another great example of how brands and agencies are using large screen technology to have an impact.

tournaments ever hosted in the UK and with high-profile guests in attendance, the championships demanded a delivery that matched the prestige of the competition.

ADI was tasked with bringing the event to life, combining sports presentation, creative content and technical production to ensure that every moment delivered an unforgettable experience for fans in the arena and viewers worldwide.

UNFORGETTABLE EXPERIENCE

This September, Liverpool welcomed the world of boxing to the M&S Bank Arena as the World Boxing Championships 2025 brought ten days of elite competition to the city. More than 550 athletes from 65 nations competed across 520 bouts, with fans treated to a festival of world-class boxing.

The scale of the event created the perfect stage for one of the most significant boxing

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BIG SCREENS Behind the scenes, ADI’s tech production team kept the event running smoothly. A ringside control centre managed live content and a modular LED backdrop created a centrepiece behind the ring for athlete walkouts, hype videos, and live visuals throughout the tournament.

Backstage in the athlete warm-up zone, an iCONIC 15 screen showed live action, allowing fighters to follow bouts as they prepared to step into the ring. Fully integrated with international broadcast, the set up ensured fans enjoyed the same presentation as those in the arena.

Innovative technical production played a huge role in the event’s success. Similarly, PSP’s use of ROE Visual’s LED tech helped make an impression when attendees arrived at the Regional Investment Summit, Birmingham, in October.

In collaboration with Bray Leino Events, PSP delivered a Topaz LED tunnel for the inaugural summit held at Edgbaston Stadium. The event positioned the UK as a global investment hub, drawing influential leaders and innovators from across sectors.

PSP provided the complete AV solution for the event, with the immersive ROE Visual Topaz curved tunnel creating a memorable entrance experience.

The curved LED tunnel, measuring 5.5m wide, was constructed from Topaz LED panels, which are particularly suited for creative applications, said Dave Morris, sales director for ROE Visual UK. He continued: “The combination of curved, cube, and straight LED panels opens up a roster of creative concepts. The mechanical integrity of the LED panels allows you to think out of the box, while keeping the construction stable and safe.”

NEW PRODUCTS

ROE Visual recently launched Vanish Air Rental, a new and curvable LED product that enables agencies and organisers to have creative stage designs without visually distracting structural elements such as a central PSU column. However, the LED specialist is not the only company to unveil new equipment and reveal investment.

For example, YSLV has launched Desay X1.5i LED panels, setting a new benchmark for high-resolution rental LED displays within the UK events and AV hire industry. With a 1.5mm pixel pitch, these panels deliver detail and clarity, opening the door to more ambitious, design-led and visually demanding scenarios. Plus, the panels can curve up to 3 degrees both convex and concave – ideal for creative set designs, exhibition features and high- impact product launches.

Similarly, Hire Frequencies has introduced a new series of video walls and has co-founded PixelLogic Solutions, a video wall company and sole UK distributor of Uniview products whilst LCI Productions has developed Frosty Fred, an outdoor LED screen snowman.

Frosty Fred is one of the new art pieces on IMG’s Windsor Great Park Illuminated light trail. The 3D snowman hologram is created

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YSLV’S NEW DESAY PRODUCT

REGIONAL INVESTMENT SUMMIT using a 5mm pixel pitch LED screen, which has been hidden into the surrounds. Frosty Fred has a 1.8m body and 1.2m head but if you’re not looking for an LED character but want something like a mobile LED trailer, then Lighthouse Events is for you.

This January, Lighthouse Events will take delivery of its first batch of trailer screens.

Measuring 7m x 4m, the screens will support the company’s growing portfolio of work in outdoor public events where large screens need to be deployed quickly.

Harry Giles, projects director at Lighthouse Events, says that the trailer screens will open up new opportunities and give the company direct access to brands, organisers, and agencies that want a deeper level of engagement.

PRODUCTION PARTNER

Will Smith, managing director of Hire Frequencies, says that more clients are realising the benefits of using LED and consider it to be far more engaging. He says that audiences enjoy “really sharp content”, which is why he thinks big brands are asking to use the finest pixel pitch, even if they really don’t need it.

Giles concurs. He says that brands and agencies have upped their game in terms of

content: content is better and more impactful because they now feel they have “the slate to deliver it on”. Giles explains: “Back in the day, you had 500 people in a room with 50 screens showing the same 16:9 PowerPoint slides just so everyone could see them. Now, people are almost doing the aesthetic first and the content second, and really making their content work for that environment, or the other way round.

“I also think the venues definitely see the value in AV, and agencies know they need it,” Giles continues. “But there’s a real stark contrast between the people who see it as functional and the people who will spend a fortune on it.

“The clients we work with best, whose events we think are the most impactful, who end up getting the best value for money, are the people who come to us and go, this is our event, this is what we’re trying to achieve, what can you do?

“We’re big advocates of AV but we’re not an AV company; we are a production partner,” Giles concludes. “We’ll look at your content, we’ll look at your screens, we’ll look at your event space, we’ll look at your vision, and we’ll make sure the content and screen work together so your event is a big success.”

Sponsored by YSLV

ADI CREATES SPECTACULAR LIVE EVENT EXPERIENCES, HELPING AMAZE AUDIENCES AND ACTIVATE BRANDS. WE COMBINE INNOVATION IN CREATIVE PRESENTATION, LED SCREENS, AND TECHNICAL PRODUCTION FOR SOME OF THE WORLD’S BIGGEST SPORTS, SPONSORS, FEDERATIONS, AND LIVE OCCASIONS.

Our services include: • Event concepts and 3D visualisation • Mobile and modular LED screens • Event presentation and live entertainment • Creative content • Audience interactivity • Technical production • AV and SFX design

For more information please visit www.adi.tv

www.adi.tv | 0800 592 346 | info@adi.tv

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CONNECTIONS ACCESSIBILITY & INCLUSION

NSR Communications Ltd 16 Caxton Way, Watford, Hertfordshire, WD18 8UA E: james@nsrcommunications.co.uk W: https://nsrcommunications.uk/ : https://www.linkedin.com/company/ nsr-communications-ltd : https://www.facebook.com/NSRComms

Eventwell T: 0800 470 0958 E: bookings@eventwell.org W: EventWell.org Opal Temporary Access Ltd Norfolk Road, Gravesend, Kent, DA12 2PS E: info@opaltemporaryaccess.com W: www.opaltemporaryaccess.com T: 01474 568100 : www.linkedin.com/company/opal-temporaryaccess-ltd/posts/?feedView=all ACCREDITATION

Press Red Rentals Limited Unit H11, Halesfield 19, Telford, TF7 4QT T: +44 (0) 1952 587049 W: www.pressred.biz BALLOONS, BUNTING & FLAGS B-Loony Ltd Cape House, 105 Bellingdon Road, Chesham, Buckinghamshire, HP5 2HQ T: 01494 774376 E: sales@b-loony.co.uk W: www.b-loony.co.uk

GOAllAreas E: goallareas@gingerowl.co.uk W: www.gingerowl.co.uk ALUMINIUM TRUSS & SUPPORT STUCTURES

Truss Aluminium Factory

UK & Ireland TAF-UK Ltd 8 Fryers Road Walsall, West Midlands WS2 7LZ United Kingdom T: 01922 495 396 E: sales@taf-uk.com

BARS Bar Live Events Unit D215, Parkhall Studios, London, SE21 8DE T: 0208 761 8424 E: nick@barlive.co.uk W: www.barlive.co.uk Cambridge Event Bars T: 01223 785401 M: 07837 707057 E: Info@cambridgeeventbars.co.uk W: www.cambridgeeventbars.co.uk

ASSOCIATION MUTA 10B Red House Yard, Gislingham Road, Thornham Magna, Eye, Suffolk IP23 8HH T: 01379 788673 E: info@muta.org.uk W: www.muta.org.uk AV, SOUND & LIGHTING Event Production Services The Pack House, Drayton St. Leonard, Oxford, OX10 7BG T: 01844 278446 E: info@epsoxford.com Hire Frequencies T: 0203 3026947 E: enquiries@hirefrequencies.co.uk W: www.hirefrequencies.co.uk Lighthouse Events Reading, UK T: 0333 335 6353 E: info@lighthouse-events.co.uk W: https://www.lighthouse-events.co.uk/ : https://www.instagram.com/ lighthouseeventsuk/ : https://www.linkedin.com/company/ lighthouse-events/

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Innovative Hire Unit N, Lion Works Estate, 543 Wallisdown Road Bournemouth BH12 5AD T: 01202 941 068 W: http://innovativehire.co.uk Peppermint Events Ltd Lower Ground 04, Edinburgh House, 154-182 Kennington Lane, London, SE11 5DP T: 0333 043 7845 E: Standout@peppermintevents.co.uk W: https://peppermintbars.co.uk/ Pop-up-Pubs T: +44(0)1993 832155 E: info@pop-up-pubs.com W: www.pop-up-pubs.com SIPS Events mikey@sipsevents.net www.sipsevents.net Symonds Event Bars Drakewell, Stoke Lacy, Bromyard, Herefordshire, HR7 4HG T: 01885 490267 E: info@eventbars.co.uk W: www.eventbars.co.uk

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CONNECTIONS BRAND ACTIVATION & EXPERIENTIAL

Instant Marquees T: 01840 213063 www.instantmarquees.co.uk

CATERING 55 Event Catering Solutions T: 07734 889638 E: sam@55eventcateringsolutions.co.uk W: https://www.55eventcateringsolutions.co.uk CLEANING & SUPPORT SERVICES Falcon Cleaning Chipping Hall Farm, Chipping, Herts SG9 0DP W3W: https://w3w.co/bless.loses.typed E: info@falconteam.co.uk W: www.falconteam.co.uk

BUGGY HIRE Bradshaw Event Vehicles New Lane, Stibbington, Peterborough, PE8 6LW T: 01780 782621 E: rentals@bradshawev.com W: www.bradshawev.com : @Bradshaw_EV Event Buggy Hire T: 0113 393 4100 E: info@eventbuggyhire.co.uk W: www.eventbuggyhire.co.uk

Top Mops Event Services 7 Bell Yard, London WC2A 2JR T: 0800 970 4035 E: info@topmops.net W: https://topmops.net COFFEE BARS

CABINS NSR Communications Ltd 16 Caxton Way, Watford, Hertfordshire, WD18 8UA E: james@nsrcommunications.co.uk W: https://nsrcommunications.uk/ : https://www.linkedin.com/company/ nsr-communications-ltd : https://www.facebook.com/NSRComms 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 : @QdosEventHire : www.facebook.com/pages/Qdos-Event-Hire/ : @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 : @WernickEvents : @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

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Markey Ltd 39b Park Farm Ind Estate, Buntingford, Hertfordshire, SG9 9AZ T: 01763 271110 E: info@markey.co.uk W: www.markey.co.uk CONTROL ROOM MANAGEMENT MinT Command E: neil@mintcommand.com W: www.mintcommand.com : https://uk.linkedin.com/in/neilminter : @MinTcommand : www.facebook.com/MinTcommand/ CORPORATE CREW Rodeo Crew 128 Wey House, 15 Church Street, Weybridge, Surrey, KT13 8NA T: 020 8075 7799 E: bookcrew@rodeocrew.uk W: www.rodeocrew.uk CREW SERVICES MLD Event Group T: 01903372773 E: info@mld.events W: www.mld.events Olympus Crew T: 07904 903452 E: info@olympuscrew.co.uk W: www.olympuscrew.co.uk Optimal Events Group Ltd / Trading as Optimal Crew Marsh Mill Village, 5A, Fleetwood Rd N, Thornton-Cleveleys FY5 4JZ T: 07375 843976 E: Enquiries@optimalcrew.co.uk W: https://optimalcrew.co.uk

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CONNECTIONS PS Events Crew Suite 117-119 Lovell House, Birchwood Park, Warrington, WA3 6FW T: 0151 319 8888 E: Operations@pseventscrew.co.uk W: www.pseventscrew.co.uk

EVENT CONSTRUCTION

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 : @s3kgroup

EVENT MANAGEMENT

Stage Miracles Ltd Rooms 39-40, The Enterprise Centre Cranbourne Road, Potters Bar EN6 3DQ E: mail@stagemiracles.co.uk T: 01707 662 500 The UK’s Leading Crew Company We supply crew in: London (and surrounding areas), Leeds, Hull, Sheffield, Birmingham, and more YOUR Group - A global workforce T: +44 (0) 203 576 2330 E: connect@your-group.co.uk W: www.your-group.co.uk : https://www.instagram.com/your.comp.group : https://www.linkedin.com/company/yourcompanies-group Video: https://vimeo.com/yourvid/ presentationuk DRONE DISPLAYS FlightShows T: 020 3151 6891 E: Hello@FlightShows.com W: www.FlightShows.com : www.facebook.com/FlightShows/ : www.linkedin.com/company/flightshows/ : www.instagram.com/flightshows/ : www.tiktok.com/@flightshows_drones EQUIPMENT HIRE GAP Event Services Carrick House, 40 Carrick Street Glasgow G2 8DA T: 0333 202 0712 E: events@gap-group.co.uk W: www.gap-group.co.uk EVENT ACCOMMODATION Bunkabin Tweedale Way, Oldham, OL9 7LD T: 0345 456 7899 E: hires@bunkabin.co.uk W: www.bunkabin.co.uk Zoo Events Group Ltd Stockton Dairy, Stockton, Warminster, BA12 OSQ T: 01258 840233 E: info@zooeventsgroup.co.uk W: www.zooeventsgroup.co.uk

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Setstage Ltd T: 01274 265217 E: info@setstage.co.uk : linkedin.com/in/kate-greenwood-82315223/

Bright Events Ltd T: 07856588815 W: www.brighteventsltd.com : linkedin.com/in/karen-edwards-events/ CM Production Management Ltd T: 020 8056465 E: hello@cmpm.co.uk W: www.cmpm.co.uk : facebook.com/cmpmlive : @cmpmlive LFX Events Unit 10 Merchants House, Market Place, Stockport, SK1 1EU E: enquiries@lfxevents.co.uk W: www.lfxevents.co.uk MNPE Ltd T: +44 (0)203 146 6844 E: info@mnpe.co.uk W: www.mnpe.co.uk Victorious Events T: 07922 836227 E: info@victoriousevents.co.uk W: victoriousevents.co.uk EVENT PASS PRINTING Eyecatchers T: 01772 681000 E: sales@eyecatchers.co.uk W: www.eyecatchers.co.uk / www.myeventpass.co.uk EVENT PRODUCTION b2 Live Events T: 01708 344668 E: info@thisisb2.com W: www.thisisb2.com Culture Creative T: 01665 798 007 E: info@culturecreative.co.uk W: www.culturecreative.co.uk Visions Live Unit 2 Thames Valley Connect, Western Road, Bracknell, Berkshire RG12 1QP T: 01189 358121 E: info@visionsgroup.co.uk W: www.visionsgroup.co.uk

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CONNECTIONS EVENT VEHICLE HIRE

EVENT SAFETY LFX Safety Unit 10 Merchants House, Market Place, Stockport, SK1 1EU E: enquiries@lfxsafety.co.uk W: www.lfxsafety.co.uk Radius Desklodge House, Redcliffe Way, Bristol, England, BS1 6NL E: info@radius-events.com W: www.radius-events.com : linkedin.com/company/radiuseventsltd SafetyDocs Conect Ltd 483 Green Lanes, London, N13 4BS T: 0208 242 4942 E: info@safetydocs.org W: https://safetydocs.org/

Bradshaw Event Vehicles New Lane, Stibbington, Peterborough, PE8 6LW T: 01780 782621 E: rentals@bradshawev.com W: www.bradshawev.com : @Bradshaw_EV FENCING & BARRIERS Augusta Event Support Ltd Cadeby, CV13 0BD E: Sarah@aesteam.co.uk W: https://augustaeventsupport.com/ Zone Secure Gorsley Business Park, Ross on Wye HR9 7SD E: info@zonesecure.co.uk W: www.zonesecure.co.uk FESTIVAL GAS

EVENT SERVICES Number 8 Events Ltd The Hay Shed, Sparrows Lane, Matching Green, CM17 0RP T: 0203 7437292 E: info@number8events.co.uk W: www.number8events.com

Festival Gas Priors Revel, Church lane, Middleton, Nr Tamworth, B78 2AL T: 07930 758893 E: simon@festivalgas.co.uk W: www.festivalgas.co.uk FIRE COVER Red Rose Fire Solutions Ltd 6 Brissenden Close, New Romney Kent TN28 8JD T: 01995 503504 E: info@redrosefiresolutions.co.uk

EVENT STAFFING AGENCY Event People : https://www.linkedin.com/company/ event-people/ : weareeventpeople E: hello@weareeventpeople.co.uk

FLAGS

EXHIBITION STAND CONTRACTORS Access Displays Unit 38, Whitehill Industrial Estate, Whitehill Lane, Royal Wootton Bassett, Swindon, SN4 7DB sales@accessdisplays.co.uk www.accessdisplays.co.uk 01793 613088 EXHIBITION TRAILERS & MOBILE UNITS 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

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Instant Marquees T: 01840 213063 www.instantmarquees.co.uk FLOORING & FLOOR COVERINGS Coir Store 8-9 Yelverton Road, Brislington, Bristol BS4 5HP E: info@coirstore.co.uk T: 07983 614410 W: https://coirstore.co.uk Event Flooring Solutions Ltd T: 01509 768 252 E: sales@efseurope.co.uk W: www.efseurope.co.uk

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CONNECTIONS FURNITURE HIRE / SALES

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

Furniture On The Move Unit B, Canada Warehouse, Chittening Industrial Estate, Worthy Road, Avonmouth, Bristol, BS11 0YB T: 0845 459 9875 E: info@furnitureonthemove.co.uk W: www.furnitureonthemove.co.uk

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

HEATING & COOLING SYSTEMS LEGAL BiemmedueUK & Arcotherm Unit 12, Wilson Road, South Wigston, Leicester LE18 4TP T: 01773 836999 | E: sales@biemmedueuk.com W: www.biemmedueuk.com Spica Temperature Control Solutions Ltd 20 Crowsport, Hamble, Hampshire, SO31 4HG T: 02380 453841 M: 07780 638976 E: kay@spicasolutions.com W: www.spicasolutions.com INFLATABLE STRUCTURES

Azorra Limited T: +44 [0] 7457 404054 E: hello@azorra.co.uk W: www.azorra.co.uk LIGHTING TOWERS Boels Rental T: 01245 208031 E: dale.fletcher@boels.co.uk W: www.boels.com LITTER PICKING

Dawsongroup tcs Export Drive, Sutton-in-Ashfield, Dawsongroup | tcs Nottinghamshire NG17 6AF T: 01623 518538 E: info@dgtcs.co.uk W: https://dgtcs.co.uk/inflatable-cold-rooms/ INSURANCE

Falcon Cleaning Chipping Hall Farm, Chipping, Herts, SG9 0DP W3W: https://w3w.co/bless.loses.typed E: info@falconteam.co.uk W: www.falconteam.co.uk MARQUEES

Tysers Insurance Brokers 71 Fenchurch Street, London, EC3M 4BS T: 0203 037 8000 E: tim.rudland@tysers.com W: www.tysers.com

Alternative Stretch Tents Building 15, Gateway 1000, A1 (M) jct 7, Stevenage, SG1 2FP T: 01920 830256 E: info@alternative-stretch.co.uk

Laser Grafix Unit 4A Stratton Park, Biggleswade, Bedfordshire, SG18 8QS E: info@lgfx.co.uk W: www.lgfx.co.uk UK office: 01767 315948 Dubai office: +971 4887 9808

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

LASER & FX

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

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Instant Marquees T: 01840 213063 www.instantmarquees.co.uk Mahood Marquees Ltd 8 Lords Fold, Rainford, Saint Helens WA11 8HP T: 01744 882 079 W: https://mahoodmarquees.com/

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CONNECTIONS TT Tents Ltd North Waltham Business Centre, Basingstoke, Hampshire, RG25 2DJ T: 01256 397 551 E: sales@tttents.co.uk Tentickle Stretch Tents UK Ltd Langley Brook Business Park, Unit 3B London Rd, Tamworth, B78 2BP T: 0121 7401385 M: 07826 843099 E: jorg@tentickle-stretchtents.co.uk W: www.tentickle-stretchtents.co.uk Tentstyle T: 01403 333135 E: enquiries@tentstyle.co.uk W: www.tentstyle.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 Ziggu Marquees Dutton Green, Little Stanney, Chester, CH2 4SA T: 01244722739 W: www.ziggumarquees.com E: hello@ziggumarquees.com MARQUEES ACCESSORIES Opas Southern Ltd Enterprise House, St Lawrence Avenue Worthing, West Sussex BN14 7JH E: sales@opas.co.uk Free Phone: 0845 1300 477 W: www.opas.co.uk MEDICAL SERVICES Codeblue Medical UK Head Office – Codeblue, Grove Farm, Lane End Road, High Wycombe, Buckinghamshire, HP14 3NR T: 0203 835 8486 W: http://www.codebluemedical.co.uk : https://www.linkedin.com/company/codeblue-uk/ : https://www.facebook.com/CodeblueUK Enhanced Care Services Unit H9, Adanac Park, Adanac Dr, Nursling, Southampton SO16 0BT T: 02380 201561 E: admin@enhancedcareservices.co.uk W: www.enhancedcareservices.co.uk First Aid Cover Ltd T: 020 8875 5758 E: enquiries@firstaidcover.co.uk W: www.firstaidcover.co.uk

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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 Medirek 8 Primrose Place, Portsmouth Road, Godalming Surrey, GU7 2JW safety and medical T: 07776 128 409 E: ryan.soper@medirek.co.uk W: www.medirek.co.uk MET Medical Ltd T: 0203 627 9042 E: info@met-medical.co.uk W: www.met-medical.co.uk NOISE MANAGEMENT Siderise Group Forge Industrial Estate CF34 0AH T: 01656 730833 E: enquiries@siderise.com W: www.siderise.com PARKING Wise Parking T: 03301 334522 E: info@wiseparking.co.uk W: www.wiseparking.co.uk PLANT HIRE Charles Wilson 86 High Street, Harpenden, AL5 2SP T: 0800 458 5701 E: instanthire@cwplant.co.uk W: www.cwplant.co.uk PORTABLE TOILET HIRE A Star All Solutions T: 02477 350679 W: www.astarallsolutions.co.uk Excloosive Event Hire Field House, Bromley Park, Abbots Bromley Rugeley, Staffordshire WS15 3AH T: 01283 575 749 M: 07778 473 064 E: info@excloosive.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 LOOS FOR DOs Ltd Bakers Court, Forge Road, Kingsley, Hampshire GU35 9NZ T: 01420 588 355 E: info@loos.co.uk W: www.loos.co.uk

Sponsored by the Falcon Team

CONNECTIONS Just Loos Paddock Barn, Manor Farm, Itchen Stoke, Hampshire, SO24 0QT T: 01962 867808 E: office@justloos.com W: www.JustLoos.com Ontrax Rentals Elmwood Farm, Bampton OX18 2PL, England E: hello@ontraxrentals.com W: www.ontraxrentals.com 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 Vacant Event Hire Unit C White Oak Technology Park, London Road, Swanley, Kent BR8 7AG T: 01322 761 117 M: 07960 301178 E: info@vacant.events W: https://vacant.events/ Zoo Events Group Ltd Stockton Dairy, Stockton, Warminster, BA12 OSQ T: 01258 840233 E: info@zooeventsgroup.co.uk W: www.zooeventsgroup.co.uk POWER & GENERATORS ATD Electrical Unit 93, Greenway Business Centre, Greenway, Harlow, Essex, CM19 5QE T: 01279 507890 E: office@atdelectrical.com W: www.atdelectrical.com Energy Management Services Ltd T: 0333 305 5144 E: admin@energyms.co.uk W: www.energyms.co.uk Festival Power Ltd Unit 2, Temple Bridge Business Park, Bristol, BS39 5AA E: info@festivalpower.co.uk W: www.festivalpower.co.uk 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

Sponsored by the Falcon Team

Instagrid UK Ltd Silent, Clean and Portable Power T: 07939 315074 E: andy.barnby@instagrid.co Midas Productions (UK) Ltd Unit 20, Clopton Commercial Park, Clopton, Ipswich, IP13 6QT T: 0333 772 0772 M: 07949 007 603 E: info@midas-uk.co.uk Newburn Power Rental Limited Unit 36 Lidgate Crescent, Langthwaite Business Park, South Kirkby, Pontefract, WF9 3NR T: 0845 077 6693 E: info@npr-uk.com Pearce Hire Unit 8-9 Reynolds Industrial Park, Stevern way, Peterborough PE1 5EL T: 01733 554950 E: info@pearcehire.co.uk W: www.pearchire.co.uk Power Revolution 23C Shepherds Grove Ind Est, Stanton, Bury St Edmunds, IP31 2AR T: 01359 256 265 E: info@power-revolution.co.uk W: www.power-revolution.co.uk Stuart Power Stuart House, Hargham Road, Shropham, Norfolk, NR17 1DT T: 01953 454540 E: enquiries@stuartpower.co.uk W: www.stuartpower.co.uk The Technical Department 14 Henley Business Park, Pirbright Road, Normandy, Surrey, GU3 2DX T: +44 (0)1483 238 050 or +44 (0)7850 367 917 E: chantal@thetechnicaldepartment.com Wernick Power Solutions Joseph House, Northgate Way, Aldridge, Walsall, WS9 8ST T: 03334 001 247 E: power@wernick.co.uk W: www.wernick.co.uk/power : twitter.com/WernickGroup : www.linkedin.com/company/wernickgroup XLE Event Services T: 01789 224227 E: info@xle.co.uk W: www.xle.co.uk : XLeventservices : @xle_events : www.linkedin.com/company/xleeventservices/

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CONNECTIONS PRINTERS

RENTAL EQUIPMENT UK Flyers Suite 210, Victory House, Somers Road, North Portsmouth, Hampshire PO1 1PJ T: 023 9229 3050 E: sales@ukflyers.com W: www.ukflyers.com

Sunbelt Rentals T: 0330 053 2348 E: events@sunbeltrentals.co.uk W: www.sunbeltrentals.co.uk/sectors/events REUSABLE CUPS Re-uz UK Less is now Limited Unit 1A Walrow Industrial Estate, Commerce Way, Highbridge TA9 4AG T: 01278 238390 E: info.uk@reuz.com W: www.re-uz.com & www.green-goblet.com

PROJECTION 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

SAFEGUARDING X2Consult Safeguarding & Child Protection T: 01622 278702 E: Tom@x2consult.co.uk W: www.x2consult.co.uk

RADIO COMMUNICATIONS 2CL Communications Ltd Unit C, Woodside Trade Centre, Parnham Drive, Eastleigh, Hampshire, SO50 4NU T: 0800 389 2278 E: contact@2cl.co.uk W: www.2cl.co.uk

SCAFFOLD SYSTEM & TRUSS STRUCTURES Overlay Events Ltd 54 Oxford Road, Uxbridge UB9 4DN T: 01895 813627 E: info@overlayevents.com W: www.overlayevents.com

DCRS Edison Road, St.Ives, Cambs, PE27 3LH T: 0800 043 2688 E: sales@dcrs.co.uk W: www.dcrs.co.uk Light of Night T: 0203 189 2679 E: info@lightofnight.co.uk W: www.lightofnight.co.uk Marathon Communications Ltd Oakhurst Business Park, Wilberforce Way, Southwater, Horsham, West Sussex, RH13 9RT T: 01403 473 858 E: info@marathoncomms.co.uk W: www.marathoncomms.co.uk : uk.linkedin.com/company/marathoncomms : www.facebook.com/marathoncomms : instagram.com/marathoncomms : x.com/marathoncomms RECYCLING Falcon Cleaning Chipping Hall Farm, Chipping, Herts SG9 0DP W3W: https://w3w.co/bless.loses.typed E: info@falconteam.co.uk W: www.falconteam.co.uk REFRIGERATED STRUCTURES Dawsongroup tcs Export Drive, Sutton-in-Ashfield, Dawsongroup | tcs Nottinghamshire NG17 6AF T: 01623 518538 E: info@dgtcs.co.uk W: https://dgtcs.co.uk/inflatable-cold-rooms/

62 n www.falconteam.co.uk

SRG Structures Oldbury Lane, Bristol, BS35 1RE T: 0117 911 4034 E: info@srg-structures.com W: www.srg-structures.com SEATING Ace Seating Hire T: 01832 279333 E: info@aceseating.co.uk W: www.aceseating.co.uk SECURITY Alliance Events Ltd Ventura Park Road, Tamworth, England, B78 3HL T: 02034 885480 E: admin@alliancemanagementgroup.co.uk W: www.alliancemanagementgroup.co.uk Anubis Group T: 0800 121 6576 E: sales@anubis-security.com/ recruitment@anubis-security.com W: www.anubis-security.com Light of Night T: 0203 189 2679 E: info@lightofnight.co.uk W: www.lightofnight.co.uk

Sponsored by the Falcon Team

CONNECTIONS Manchett Security The Tack Room, Lorkins Farm, Conway’s Road, Orsett, Grays, Essex, RM16 3E T: 01375 470 022 E: info@manchett-security.com W: www.manchett-security.com : @ManchettSec – : @ManchettSec – : ManchettGroup McKenzie Arnold Group E: joanna.white@mckenziearnold.com T: 01376 350 999 M: 07701 048 69 Ministry Protective T: 0800 2335518 E: info@ministryprotective.com W: www.ministryprotective.com New Dawn Security and Training Unit 10 Dunley Hill Court, Ranmore Common, Effingham RH5 6SX T: 01306779436 E: Events@ndst.ltd W: www.ndst.ltd Newman Event Services Ltd Crowd Management, Festival & Event Security/Stewarding.

Bloxham Mill, Barford Road, Bloxham, Oxfordshire, OX15 4FF T: 01295 722844 E: enquiries@newmanevents.co.uk W: www.newmanevents.co.uk Right Guard Security Experts in Crowd Management and Event Security T: 01227 464588 E: info@rightguard.co.uk W: www.rightguard.co.uk Showsec Regent House, 16 West Walk, Leicester, LE1 7NA T: 0116 204 3333 E: sales@showsec.co.uk W: showsec.co.uk : showsec.uk : showsec : company/Showsec Trojan Security Unit B7 Loughton Seedbed Centre Langston Road Loughton IG10 3TQ T: 0330 113 9966 E: info@trojansecurityuk.co.uk W: www.trojansecurityuk.co.uk : @trojan-security-uk-ltd : @TrojanLondon :@trojan_security_UK

SET & SCENERY CONSTRUCTION Staged Events Ltd Meadow View, Newnham Lane, Old Basing, Hampshire, RG24 7AU T: 01256578055 E: info@stagedevents.com W: www.stagedevents.com SHOWERS Zoo Events Group Ltd Stockton Dairy, Stockton, Warminster, BA12 OSQ T: 01258 840233 E: info@zooeventsgroup.co.uk W: www.zooeventsgroup.co.uk SITE SUPPLIES 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 SOUND, LIGHTING, VISION, POWER AND SCENIC SPH Event Production LTD Unit 7, Upper Wensleydale Business Park, Brunt Acres Road, Hawes, DL8 3UZ T: 01535 442084 W: www.event-production.live STAGING & RIGGING IPS (Impact Production Services) 29 Mount Avenue, Bletchley, Milton Keynes, MK1 1LS T: 01908 657950 E: enquiries@ips.co.uk W: www.ips.co.uk Rigger.co.uk T: 0333 772 0120 E: contact@rigger.co.uk W: www.rigger.co.uk The Stage Bus 19 Prestwood Road, Birmingham, B29 5EB T: 0121 585 9264 E: info@thestagebus.com W: www.thestagebus.com SRG Structures Oldbury Lane, Bristol, BS35 1RE T: 0117 911 4034 E: info@srg-structures.com W: www.srg-structures.com Steeldeck Rentals Unit 58, T. Marchant Estate, 42 - 72 Verney Rd, London SE16 3DH T: +44 (0)207 833 2031 E: rentals@steeldeck.co.uk W: www.steeldeck.co.uk

Sponsored by the Falcon Team

www.falconteam.co.uk n 63

CONNECTIONS STAND DESIGN & BUILD

Tentickle Stretch Tents UK Ltd Langley Brook Business Park, Unit 3B London Rd, Tamworth, B78 2BP T: 0121 7401385 M: 07826 843099 E: jorg@tentickle-stretchtents.co.uk W: www.tentickle-stretchtents.co.uk

Saward Marketing and Events T: 07788 660996 E: admin@saward-me.com W: https://saward-me.com/ TEMPORARY BRIDGES

The Dome Company T: 07876673354 E: info@thedomecompany.co.uk W: www.thedomecompany.co.uk

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

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

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

WH Silverbacks Unit 26, Oakfield Road, Woolsbridge Industrial Park, Dorset BH21 6FE T: 01202 096957 E: info@silverbacks.co.uk W: https://whsilverbacks.co.uk/

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

TRACKWAY TRACKWAY

Worldwide Structures Ltd Ayrshire Farm, Sharcott, Pewsey, SN9 5PA T: 01672 565 060 / +44 (0) 7875 027369 E: enquiries@w-sl.com W: www.worldwidestructures.com

Losberger De Boer Castle Park, Boundary Road, Brackley, Northamptonshire, NN13 7ES T: 01280 846500 E: sales.uk@losbergerdeboer.com W: www.losbergerdeboer.com/uk

All Weather Access Ltd 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

NEPTUNUS Ltd Cob Drive, Swan Valley, Northampton NN4 9BB T: 01604 593820 E: sales@neptunus.co.uk W: www.neptunus.co.uk

GT Trax T: 01487 823344 E: info@gttrax.co.uk W: www.gttrax.co.uk

Stunning Tents Creative House, Station Road, Theale RG7 4PD T: 0118 380 5590 E: team@stunningtents.co.uk W: www.Stunningtents.co.uk Technical Overlay by Visions Unit 2 Thames Valley Connect, Western Road, Bracknell, Berkshire RG12 1QP T: 01189 358121 E: info@visionsgroup.co.uk W: www.technicaloverlay.co.uk

64 n www.falconteam.co.uk

TRAFFIC MANAGEMENT Event Traffic Control Ltd Baldersby Gardens, Ripon Road, Baldersby, Thirsk, North Yorkshire, YO7 4PS T: 08000 246 800 E: info@eventtc.com W: www.eventtc.com Carbonite Traffic Solutions T: 020 3567 1479 E: enquiries@carbonitetraffic.co.uk W: www.carbonitetraffic.co.uk

Sponsored by the Falcon Team

CONNECTIONS Right Guard Traffic Management Event Traffic Management CSAS Accredited Traffic Officers Car Parking • Event Signage T: 01227 464588 E: info@rightguard.co.uk W: www.rightguard.co.uk TRANSPORTATION AND LOGISTICS Les Jones Transport 329 Cyncoed Road, Cardiff, CF23 6PD T: 0292 1851300 E: Alexander.dodd-jones@dojoservices.co.uk W: www.lesjonestransport.co.uk WASTE MANAGEMENT Falcon Cleaning Chipping Hall Farm, Chipping, Herts, SG9 0DP W3W: https://w3w.co/bless.loses.typed E: info@falconteam.co.uk W: www.falconteam.co.uk WATER & PLUMBING SERVICES MTD (UK & Ireland) Ltd Unit 1 Westerngate, Hillmead Enterprise Park, Langley Road, Swindon, SN5 5WN T: 01264 773 818 E: sales.uk@mtd.net W: www.mtd.net

T.E.S.S Ltd W: www.tess-ltd.co.uk E: info@tess-ltd.co.uk T: 01332 850 860 Wicked Event Water Services Kevin: 07909 771996 E: info@wickedeventwaterservices.com W: www.wews.biz WIFI, INTERNET & STREAMING attend2IT Unit 6-8 Park Farm Industrial Estate, Buntingford T: 01763 877 477 W: https://attend2it.co.uk/ Fli-Fi Ltd UK Wide T: 020 3778 0454 E: enquiries@fli-fi.com W: www.fli-fi.com SimpliWifi Unit 13, Leominster Enterprise Park, Leominster, Herefordshire HR6 0LX T: 0800 298 9434 E: hello@simpliwifi.agency W: https://simpliwifi.agency

Online Geographical Directory www.standoutmagazine.co.uk

PUT YOUR BUSINESS ON THE MAP. Sponsored by the Falcon Team

www.falconteam.co.uk n 65

NEXT ISSUE

Featured in our next issue...

Editor Caroline Clift caroline@standoutmagazine.co.uk Publication manager Sarah Bourne sarah@standoutmagazine.co.uk Account executive Jen Crisp jen@standoutmagazine.co.uk Marketing executive Katie Goldsmith marketing@standoutmagazine.co.uk Design and production Neil Hepden Jemma Heslop Emma Hickman Colin Swaffer studio@standoutmagazine.co.uk

ON COURSE

Jack Williams, CEO of RunThrough, the organiser of more than 340 mass participation events, talks ethos and challenges and reveals his ambitions for the business

Credit control Janine Walmsley creditcontrol@standoutmagazine.co.uk Managing director Neil Fagg neil@standoutmagazine.co.uk T: 01795 509101 CEO John Denning StandOut Multimedia Limited, 10 The Metford, Evegate Business Park, Smeeth, Ashford, Kent, TN25 6SX T: 01795 509113 www.standoutmagazine.co.uk

UNDER COVER

Organisers can make their events look and feel differently just by choosing a different style of marquee. StandOut looks at marquee choice, pricing, and new products

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. © 2025. StandOut Multimedia Limited, 10 The Metford, Evegate Business Park, Smeeth, Ashford, Kent, TN25 6SX

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ACCESS FOR ALL

What are organisers doing to make their events more accessible and inclusive?

Event access professionals talk best practice

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