StandOut May 2026

The Jockey Club on Cheltenham Festival, investment, and customer experience page 20

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MOVING FORWARD

10 WINNING

and

12 MOVING FORWARD

Brockwell Live’s Joe Elkins on planning applications, community engagement, and moving forward with positivity

20 RACING AHEAD

The Jockey Club’s Rowan Kitching on major financial investment and how new tender processes have affirmed The Jockey Club’s commitment to creating memorable event experiences

28 DRIVING FORCE

StandOut delves deep into the world of traffic management

33 HAY UP!

AEG’s Roundhay Festival will debut at Leeds’ Roundhay Park this July. LS Events’ Ian Nolan discusses the festival’s vision and challenges

36 20 YEARS AND COUNTING

Sarah Hemsley-Cole on 20 years of SC Productions, including ambition, attention to detail, and penguins…

46 WINTER WOW FACTOR

Hyde Park Winter Wonderland, Silverstone, and Culture Creative share their insights, lessons learned, and operational plans for winter events in 2026 and beyond…

52 IMMERSE YOURSELF

Light, sound and AV solutions have the ability to deeply connect an artist or brand with an audience. Read on as StandOut looks at innovative light, sound, and AV best practice

57 SHINE ON

Independent festival GemFest has ambitious growth plans and a young and ambitious team driving them. GemFest’s Sam Morgan chats

HAY UP!

IMAY 2026

was so glad to pop my comfy CAT boots on this month and get back out into a field. Well, I say a field. More like a gloriously huge park in the “unofficial capital” of Yorkshire. I met with Ian Nolan, projects director at LS Events and operations director of Roundhay Festival, to check out plans for AEG’s new festival in Leeds. To say the site is not flat is a bit of an understatement but hey, when has the small matter of a hill ever stopped an organiser from putting an event on.

In this jam-packed issue, Ian is just one of several experienced event professionals that have sat down with the team to walk us through event management and operational plans for 2026. As teams up and down the country try to navigate world events, specifically rising fuel and transportation costs, there’s no denying that power is on the minds of every single event organiser and event supplier.

For example, one organiser I recently spoke to confessed they were considering bulk buying fuel and storing it as they tried to budget for the months ahead. Yet, when the world is trying to forecast and figure out what to do using a “sliding scale to f%*k knows where”, it makes life tricky. Rest assured, we’ll be talking to power experts over the coming months to discover how the industry can work together to reduce costs and make efficiencies. But if you have any budget and power-saving ideas that would benefit our amazing events ecosystem, get in touch.

I’m always up for a chat. Just ask GemFest’s Sam Morgan, Mari Group’s Suzy Griffiths, The Jockey Club’s Rowan Kitching, and Brockwell Live’s Joe Elkins; all have spoken to StandOut in great depth this month so make a brew and get stuck in. There’s some absolute gems of insight in this edition. Miss it and you’ll most definitely miss out.

Happy reading, Caroline

Cover image: © Losberger De Boer

This month’s

CONTRIBUTORS:

IAN NOLAN

From his early career in theatre to leading some of the UK’s most recognisable celebrations, Ian is an expert in the operational delivery of major city-centre events. As a specialist in mass-participation projects, Ian is projects director at LS Events and has been instrumental in the success of Pride in London, This is Oxford Street, and the highly anticipated Roundhay Festival. He possesses a deep-seated ability to partner with local authorities to transform urban spaces into world-class event destinations.

SAM MORGAN

Sam is a highly motivated and enthusiastic operations director at two fast-growing organisations in the music and live events sector, PullUp Recordings, South Wales’ largest and fastest-growing underground dance label, and GemFest, an independent music festival that has big growth plans and ambitious goals. Before transitioning into the music and events industry, Sam worked at Deloitte as a project manager, delivering large-scale audit programmes for listed clients with contract values up to £50 million. He specialised in applying hybrid and agile methodologies to improve project outcomes, streamlining processes, and enhancing collaboration across multidisciplinary teams. It’s these transferable skills that Sam now draws on as he looks to grow GemFest in 2026 and beyond.

ROWAN KITCHING

Rowan joined The Jockey Club in February 2025 as director of event operations and is now group operations director. It’s a role she cherishes and sees her draw on her vast experience of project, event, and venue management. As former venue director of the Roundhouse Trust, as well as director of catering and events at The HAC, Rowan understands hospitality and why a clear vision is essential if you want to enhance a customer’s experience. In this issue, Rowan talks of The Jockey Club’s major new investment programme and why a fascinating tender process has given the organisation greater control and ownership of its procedures and best practices.

9th - 11th November 2026

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APPOINTMENTS OF THE MONTH

Chris Conneally is managing director of Invictus Games Birmingham 2027.

Lauren Scott is group projects operations manager at The Goodwood Group.

Lara Coker has joined Union Chapel as events and venue operations manager.

Callan Wellings is overlay manager at Wimbledon.

TPA has appointed James Hannaway as head of operations.

Jake Salter is events manager at Jane Tomlinson’s Run For All.

Kevin Thorborn is managing director at Guardian Barrier Services.

Tixr has appointed Wayne Grierson as managing director, UK and EMEA.

The Royal Highland Centre has appointed Hooked On Events’ Roger Hooker and David Laing, previously head of arts, music, and cultural venues at Glasgow Life, as non-executive directors.

Kerrie Kemp is the new director of event and venue experience at ExCeL London.

Leonah Unwin has joined Live Nation’s VIP Nation team as event manager.

PIC OF THE MONTH

More than 900 drones were used to recreate the RMS Titanic last month to mark the start of the BBC’s Made Of Here campaign in Northern Ireland. The drone display – inspired by the four-part series Titanic Sinks Tonight – took place in Belfast Harbour, beside the Titanic Slipways, and was broadcast to audiences on BBC One Northern Ireland and BBC Two Northern Ireland at the same time and date that Titanic set sail from Belfast in 1912. Celestial Drone Shows created the display and helped the BBC to launch its Made Of Here campaign, which pays tribute to the hometowns and cities across the UK that have inspired some of the BBC’s most iconic TV shows and characters.

LINKEDIN POST OF THE MONTH

Neil Fagg Managing director, StandOut Multimedia

It’s nice to be nice! The first and last impression of your event or attraction is often the traffic management team, so please don’t forget how important everyone is whilst on site.

WH Management Group, I’d like to put two of your amazing team members forward for a big thanks and lots of gratitude to how they treated me and my family at Tulleys Tulip Fest. They went well beyond the service expected of them, and I would love to share this positive experience with the industry I serve, and hope it gets them some special attention for representing the company so very well!

Cheers again guys. You’re what makes our industry so attractive and special.

NEWS IN BRIEF

The Security Industry Authority (SIA) has launched a public consultation on its draft section 12 statutory guidance. The guidance sets out how the SIA intends to carry out its role as regulator for the Terrorism (Protection of Premises) Act 2025, known as Martyn’s Law. The new law is expected to come into force in spring 2027. The draft guidance is being published alongside the Home Office’s final section 27 statutory guidance, which has also been released. The consultation will close at 23:59 on Friday, June 12.

Liverpool City Council is joining forces with Liverpool John Moores University and A Greener Future to launch a pilot training module designed to equip the next generation of professionals with the knowledge and skills needed to deliver sustainable live events.

manager at Great Yorkshire Events Centre.

All In and Attitude is Everything have developed the UK and Ireland’s first Accessibility Standards for creativity and culture.

Bectu and Freelancers Make Theatres Work have launched an APPG for Freelancers

MUTA has created an online training academy to support safety across the temporary structure sector.

Olympia London has appointed Stuart Tomlinson as venue services director.

Andy Walton is deputy events

Image: © BBC

Winning business

Looking for new business? Discover the latest event tenders and news of

contract wins

DDA Public Relations has won the contract to project manage the BFI Film Festival’s red carpet events and premieres and provide event production expertise to the festival’s opening and closing night receptions.

South Tyneside Council wishes to establish a framework agreement for the supply of event services including equipment and event stewarding. Therefore, it has contracted Gap Group, ADI, Hi-Lights, Sunbelt Rentals, DCRS, Belle Tents, Chase Services Group, and Constant Security Services, amongst others, and added them to its framework.

Salford City Council is looking for a professional event management company to plan, create, deliver, and manage a community event. This includes creative concept and production, as well as responsibility for pre-event planning and on the day event management. Email procurement@salford.gov.uk – the deadline is 12pm on April 27.

Squidsoup has won a £44,000 contract to deliver and produce Ayscoughfee Hall Light Night.

The Stambridge Group has been appointed to deliver event security services for Olympia’s historic heritage halls.

View tenders

The General Medical Council (GMC) is looking for events and conference support. The successful applicant will design, advise, plan, project manage, build and break down any GMC stand or activation at GMC-led events. Email gmctenders@gmc-uk.org – the deadline is 12pm on April 27.

After many years of producing the red carpet for Pride of Britain in London, Nibbs Events is set to continue its partnership with Reach and will deliver the Pride of Scotland Awards red carpet later this year.

Aberdeen City Council has issued a tender for event production for its annual events portfolio. The tender includes a PA system, staging, lighting, power, power distribution, equipment, and AV. The deadline is 12pm on April 27. Email Daniel Parrott –cityevents@aberdeencity.gov.uk

The Royal Highland Centre (RHC) and 21CC Group have announced a five-year partnership that will see 21CC Group become RHC’s integrated, in-house event delivery partner. This includes creative event design and overlay through Rogue City Productions, full technical production via 21CC Productions, and specialist visual and effects services delivered by Funktioncreep, spanning lighting, sound, AV, SFX, staging, power, and lasers.

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OLYMPIA

Moving forward

an you breathe a sigh of relief?” StandOut asks Joe Elkins, event director of Brockwell Live.

Elkins is talking to StandOut. It’s been just a couple of weeks since Lambeth Council’s Planning Applications Committee unanimously approved Brockwell Live’s planning application. The approval means the 2026 event series comprised of Field Day, Cross The Tracks, City Splash, and Mighty Hoopla will go ahead later this year.

“Anyone that’s gone through a planning application will know that the process involves a hell of a lot of work, and it’s complex and multi-layered,” explains Elkins, who joined Brockwell Live as event director in February 2025.

“We’ve worked with a lot of experts from planning specialists to biodiversity and arboriculture specialists, so a lot has gone into the application.

“When we got a unanimous result, and a positive result, that obviously feels really, really great. Of course it does. But we recognise that there was a lot of significant debate around Brockwell Live last year and our residency in Brockwell Park.”

HIGH COURT BATTLE

When Elkins joined Brockwell Live in 2025, little did he know what the next 14 months would bring. In particular, a High Court battle that would see Protect Brockwell Park, a local community group, legally challenge Lambeth Council’s decision to allow events to take place in the park.

On May 16, 2025, Protect Brockwell Park won a High Court ruling against Lambeth Council, which said that the local authority acted unlawfully by allowing large-scale music festivals to take place without proper planning permission.

This news cast a shadow over Brockwell Live with some event professionals questioning whether the event series would go ahead. Yet three days later, on May 19, Summer Events – organiser of Brockwell Live – confirmed that it had applied for a new certificate of lawfulness and that the familiar sights, sounds, and smells of its events would grace the park once more.

UNDERSTANDING OUR IMPACT

Brockwell Live 2025 went ahead as planned but the organising team knew that if it

wanted to use the park this year, it’s presence would be closely monitored and challenged. Summer Events applied for temporary planning permission and whilst its plans received a considerable number of objections during a public consultation period, on February 24, 2026, Lambeth Council gave Brockwell Live’s planning application a big thumbs up.

Elkins acknowledges that there were objections to the planning application. Some negative voices were significantly amplified, but some of those voices and concerns were around important topics like the park’s biodiversity. Elkins continues: “We have been happy and open to engaging with people on both sides of the debate, including those who supported our application. It’s important for us as organisers to understand our impact in order to manage and mitigate it properly.

“I joined the company just over a year ago, and from where we started to where we are now, our knowledge of our impact, how we impact, and how that can be mitigated is significantly improved.

“We have a biodiversity net gain assessment as part of our planning application, and so we

Lambeth Council recently gave Brockwell Live’s planning application the green light. Read on, as Joe Elkins, event director, discusses that High Court battle, the importance of community engagement, and how he proposes to move forward with positivity

BROCKWELL LIVE

Images: © New Motion Visuals/Garry Jones Photography/Luke Dyson/Corinne Cumming

are investing in bird and bat boxes across the park and habitats to support wildlife. We want to be able to support the health of the park, because it’s not just about ensuring that the grass grows back.”

OPEN CONVERSATION

Elkins describes the last 14 months of his career as a huge learning curve. But a rewarding one. He and the wider Brockwell Live team have listened to the local community and worked with biodiversity specialists to shape the series’ residency in the park. He is hugely aware of the massive impact that Brockwell Live has on the local community, which is why community engagement is so important to the team.

“We had a drop-in community meeting last night where some of the team and I had one on one conversations with the community and we’ve got another one next month,” says Elkins. “I will always try and talk to people about how we move forward. It’s something that happens over a long period of time and we will be having continuing conversations with residents.

“I will never shy away from sitting down with anyone that comes to a community meeting and having an open conversation. I will always try to be as frank and open as I can.

“I can have a meaningful relationship with someone who objects to Brockwell Live, some back and forth, learning from them, and talking to them where they might have misinformation. If we can correct that and give them additional information, we will, but their feedback is really important to us. They are the community that may be impacted when events like ours come into the neighbourhood. The more we can do to lessen impact where possible, we’re up for it.”

CONTINUOUS COMMS

Lambeth Council’s inward business development team projected that Brockwell Live has a positive impact of £10m on the local economy. It’s just one of a number of things that Elkins speaks passionately about.

When you look at the makeup of Brockwell Live, every event in the series is homegrown in London, from an independent scene. This is a hugely important point when the nighttime economy is under considerable stress.

“It’s important that we protect these events,” Elkins explains. “There are 20,000 people that come to our events from Lambeth alone. Those people are residents of Lambeth, and they enjoy going to events like this on their doorstep. None of those numbers mean that we shouldn’t listen to community voices, when we are a temporary resident in that park for a few weeks of the year. We have to be good neighbours. I believe in that, and it’s not wrong that the council and the local residents

MIGHTY HOOPLA

MIGHTY HOOPLA

hold events to account, to make sure that they’re operating responsibly.”

Elkins explains further: “The planning process has enabled us to show the good that we do, such as the great community schemes that we have but I don’t think we shout about them very loudly. It’s one of the things that I’ve taken on board – we as events shouldn’t be afraid to shout about the good stuff that we do and if we’re underperforming in some spaces, we also need to identify and rectify that.

“We have to acknowledge where improvements can be made and communicate with the community as to how we’re going to make those changes. It’s a continuous relationship and that engagement

with the community doesn’t stop because the planning process is finished.”

EXCITING CHALLENGE

Indeed, planning has been a massive focus and a big volume of work, which needed an additional team member to help project manage the process. But now that planning permission has been granted, Elkins and his team can focus on event management plans, including traffic and parking plans, and event operations. “It’s that exciting time of year where you know that final site plan’s coming together,” says Elkins. “There’s a lot of focus on understanding the nuances between each individual show that makes up the Brockwell Live series.

“Essentially, my role is to figure out how we can create a venue that can serve four completely different events that appeal to four completely different audiences. It’s a challenge at times but it’s an exciting challenge and one I’m really into.”

Elkins is focused on making each Brockwell Live show even better than before. Last year, he brought in GMC Events as Brockwell’s new delivery partner and production company to help him achieve that goal.

DUAL FOCUS

Ryan Wilmott, director of GMC Events, works closely with Elkins, overseeing the event’s delivery. In 2025, GMC was engaged to deliver site management and operations. For 2026, GMC’s remit has been extended to full production, including operations, creative, and technical production. Frankie Tee is tech production manager, Chris Faulds is creative producer, Emily Muirhead is senior operations manager and Rebecca Foster is site manager; Wilmott oversees each department on-site.

Wilmott explains: “Joe and I have a dual focus. One is delivering the show in a way that uplifts it. We must deliver it to the best of our ability, to make all four shows stand out at a global level. We’ve also got a focus and a duty to make sure that our impact on the community is as minimal as possible, and that we do it in the most sensitive way we can for the community, for the park users, and the park itself.”

OPERATIONAL PLANS

Last year, Wilmott and his team approached Brockwell Live with a view to more efficient delivery, creating more space, and minimising the event’s impact on the park with better placement of services – things like toilets and a more robust trackway layout.

FIELD DAY

MIGHTY HOOPLA

Wilmott comments: “We wanted to deal with internal and external traffic more efficiently because traffic around the site is challenging. We added double trackway where we could, created bigger unloading and turning pads, and we had an internal traffic management team, all strategically positioned, to make sure the traffic flowed and no one was unloading on the production pad, for example.

“That was a big focus on the site design from a back of house build and servicing perspective,” he adds.

“We know how important the park is to the community, so we were diligent as we could be with our site layout and ground protection and created an operational plan to minimise any vehicle routes on the grass and vehicle routes on the trackway.

“We also created a second vehicle gate, in and out of the park, which alleviated traffic congestion at the main Herne Hill entrance, whilst also lessening the vehicle movements within the park. It meant traffic could do a loop and then leave, greatly reducing vehicle movements on-site by almost 40 per cent.”

UNIQUE IDENTITIES

This year, Elkins and Wilmott are focused on making the shows even better. Together, they are finessing their plans but Brockwell Live 2026 is not without some bigger operational changes.

Elkins explains: “We put all our F&B contracts out to tender for this year, so we’ve got new suppliers in all areas. Our bar contract has moved to One Circle, so they are delivering all the main arena bars.

“The great thing about Brockwell Live is we’re a series that’s made up of four completely individual shows. Each of those shows has a standalone team delivering marketing, artist bookings, etc, and each of those audiences expects a slightly different product or experience from those bars.

“We’ve looked at how we can run high volume, mass service bars, but also make sure we’re giving audiences a choice that differs. That was a big focus in the bar tender, and we’re really looking forward to working with One Circle to help make those changes. We’ve also switched to working with Quality Streat and they are managing our food and non-food retail.”

Elkins continues: “Plus, we’ve made the decision to work with a standalone operator to deliver the VIP area. Historically, that has fallen within the main bar contract, but will this year be handled in collaboration with Gorilla and Soulshakers, who excel in premium food and drink experiences. That partnership will deliver a significant overhaul, and we’re excited to see it realised after a lot of planning.”

Wilmott concurs. He says that the entire team is working to enhance the customer experience, but also from a show identity and delivery point of view – to make sure that efficiencies are being achieved, that there’s better load in and load out, better positioning of traders, a better understanding of their needs, and a better offering for the public.

“When you have four different shows and four different audiences, it’s complicated,” Wilmott admits. “There’s no one size fits all. We try to find the balance whilst also changing what needs changing for each

show. We need to give each event their unique identity, whilst making that a) manageable, b) affordable and c) practicable.”

PROTECTING BROCKWELL LIVE

Brockwell Live has engaged Ontrax, Field and Lawn, Star Live, Intent Productions, Entertee, Project Power, Electric Star, The Event Safety Shop, Water Direct, A&J Big Top Hire, Creative Technology, Colour Sound Experiment, and Greenbox Events to supply equipment and services for Brockwell Live 2026. In just a few weeks’ time, the site will start to come together.

Elkins is excited to get going. Ticket sales are “great” he says, and whilst the last 12 months have been challenging, he is excited about the year ahead.

“The thing that excites me most about Brockwell Live is we’re delivering four completely different events,” he adds. “Mighty Hoopla has Lily Allen’s only London festival performance, alongside a festival debut from Jane McDonald. Contrast that with City Splash bringing Beras Hammond over to the UK, who is a genuine legend in the reggae scene, and you have a snapshot of the diversity the festival series brings. On a personal note, I’m excited for Little Simz. She’s an amazing live artist anyway, but a hometown gig always adds a little extra something.”

But what will stand out about Brockwell Live this year? Elkins concludes: “Brockwell Live has the ability to appeal to such a broad spectrum of London and that’s why this series stands out – it has broad appeal and that’s why I think it’s very special. It’s the diversity of music and diversity of audience that the series offers. It should be protected.”

FIELD DAY

A V A N T G A R D E R Y e r n r s c t .

E n g i n e e r i n g t h e f u t u r e o f t e m p o r a r y i n f r a s t r u c t u r e .

A d t d f i s s c t a d s i n .

A G r a n d s t a n d f i n i s h i n s t r u c t u r a l d e s i g n .

D e l i v e r i n g e v e n t s d i f f e r e n t l y .

D i v e r i n g e v n d e r e t l y .

Racing ahead

Major financial investment and new tender processes have affirmed The Jockey Club’s commitment to giving customers a high-end and memorable event experience. Rowan Kitching, group operations director, reveals all…

ast month, The Jockey Club and Levy, a division of Compass Group UK, unveiled an exclusive new 20-year deal and a £100 million investment designed to elevate spectator experiences across the horseracing giant’s 15 UK racecourses.

The partnership will see the existing joint venture Jockey Club Catering rebranded as Jockey Club Experiences, an entity that will oversee hospitality package sales and delivery, conferencing and events, and retail merchandising.

It’s a deal that has taken months to come to fruition and has kept The Jockey Club’s management team incredibly busy. Including The Jockey Club’s Jim Mullen, group chief executive, and Rowan Kitching, group operations director.

“We’ve been working behind the scenes for a number of months to get everything in place,” explains Kitching. ‘We’ve been thinking about how we can elevate the customer experience and use innovation

across our processes. We’ve been working with Compass since 2009 but this new partnership sees them become a much more strategic partner.”

Building on a successful long-standing relationship, the partnership will enable The Jockey Club to make a significant capital investment of £100 million into its business. For example, its investment plans, funded by a payment from Compass as part of the deal, include introducing digital ticketing, improvements to the customer experience at Cheltenham and Aintree, and a reinvigoration of The Derby at Epsom Downs.

EXPLORING TECH AND DATA

All of these major plans and projects have been a huge focus for Kitching and Mullen, who want customers to enjoy the sport of horseracing, enjoy the comforts and luxury of hospitality, and enjoy the overall customer experience so that they come back more often.

“It’s been a fairly major deal for us to get over the line,” says Kitching, just days after Cheltenham Festival closed its gates to more than 200,000 happy racegoers. “Jockey Club Catering has been brilliant but it’s been quite traditional in its offering. With this new partnership, I am looking forward to modernising the experience and exploring technology, data, and insights because there are so many more opportunities that we can realise.”

PHASE ONE

Kitching is in demand. When we speak, Cheltenham Festival is over and her attention has turned to Aintree and the Randox Grand National. It’s an exciting time to be in the business, she says. Especially as she has just delivered phase one of a huge procurement project that has enabled her to optimise revenue and drive innovation.

“We ran a group-wide tender last year for temporary structures and a number of other

CHELTENHAM FESTIVAL

Images: © The Jockey Club/Adam Gasson/PA Wire/David Davies/PA Media

Expanding.. Two-storeys up, one to go..

Rethink What Temporary Venues Can Do

At the heart of this project was a simple challenge: increase capacity without disruption. Two additional floors were added to an existing structure, preserving the ground floor fit-out and allowing the venue to scale seamlessly.

Space For What Matters

One-storey hospitality - Cheltenham Autumn Races

Three-storey hospitality - Cheltenham Festival

suppliers,” she explains. “We were at a time in our contract cycle where the temporary structures in particular were up for tender so we tendered across the group.

“One of the things that we were looking for was innovation and new products,” she adds. “We had some ideas to reconfigure some of the areas at Cheltenham. Given most of our racing takes place in autumn through the winter into spring, the weather is always against us, so we were looking for new structures that could create more cover for our general admission (GA) and GA Plus guests. Obviously without covering the entire concourse.”

VISION AND EFFICIENCIES

The Jockey Club tendered its temporary structures contract – more than 40,000 square metres of tents and temporary structures at Cheltenham Festival alone. Several companies were successful. But at Cheltenham Festival, Arena Group delivered more than 3,000 grandstand seats and 17,500 square metres of triple deck structures to house premium trackside hospitality for more than 4,000 guests, Losberger De Boer delivered ten temporary venues totalling 11,175 square metres of hospitality, retail and media spaces and Fews Marquees’ Avantgarde structures were used to create The Orchard space.

Losberger De Boer won the contract in October 2025 and delivered several facilities including a double-deck media centre, a triple-deck hospitality structure, The Horseshoe Pavilion, and The Racing Lounge.

Losberger De Boer’s Rebecca Chipping, operations manager, and Elsa Thwaites, on-site project manager, were responsible for the delivery of the project. The company’s first year delivering the famous Cheltenham Festival.

Its brief was to deliver all required venues to a high standard, incorporating Losberger De Boer’s design approach and operational expertise, while remaining fully aligned with the client’s budget, Chipping says. This meant balancing quality, efficiency, and functionality to ensure the structures met both performance requirements and the overall vision for the site.

Chipping explains: “Our pitch stood out because it combined genuine innovation with value for money. A key differentiator was the design of our multi-storey structures, which allowed the ground floors of both the media centre and M1 Hospitality to remain in place after their initial use in December 2025. Rather than dismantling and rebuilding, we were able to seamlessly add additional levels to each facility.

“This approach improved efficiency by saving time, reducing costs, and minimising manpower, while simplifying delivery. It

provided a practical solution aligned with the client’s priorities.”

TAKING OWNERSHIP

According to Kitching, running a comprehensive tender process can end in “tight” results but ultimately, large-scale organisers are looking for suppliers that are both competitive and innovative. And, they must also have an eye on the future, she comments.

“Phase one of our tender process was fascinating, on a number of levels,” Kitching explains. “We recognised that we’d perhaps allowed our suppliers to hold a bit too much of the detail. We wanted better stability and ownership across our own projects. When we tried to extract that from existing suppliers, it was quite challenging to get really clear bills of quantities (BoQ), for example.”

Kitching says that she learned quite a lot during phase one of the tender process. For starters, she learned that the group needs to make sure that it is running more regular contract cycles.

“I think it’s also important to remember that basic rule of, don’t assume anything,” she continues. “When you build up relationships with suppliers over a number of years, you get into working practices where things happen without you necessarily confirming them, which is a good and a bad thing. But

equally, when you move to a new supplier, you’ve got to make sure that everybody is really clear about the detail and that you haven’t assumed that somebody is just doing it because somebody else did it previously.

“That means we have to be really clear on the detail and we have to be very clear on the brief. This is our project. We own it and we must make sure that we know exactly who’s doing what across our sites.”

ADDITIONAL SUPPORT

Kitching believes that there are benefits to moving away from turnkey providers to working directly with suppliers. Including greater cost efficiencies, and full transparency and ownership of all temporary structures from surveys and drawings to final BoQ’s and costs.

Kitching adds: “I think one of the things that we’ve been a bit guilty of is that we’ve got such capable operations teams on our sites that you can load more and more responsibility onto them, but there comes a point where you go, ‘Oh my goodness, look at their remit and what they’ve got to cover’. But we weren’t necessarily giving them the central expertise that they’ve needed. Now, we’re trying to build a small team of really specialised experts who can support the teams across the group.”

This year, The Jockey Club appointed Margot Walsh as temporary structures programme manager to oversee all temporary structures across all racecourses.

Walsh sits within Kitching’s wider group operations directorate and is the conduit between the suppliers and The Jockey Club operations team.

“Having someone like Margot is great,” Kitching adds. “We can’t support having that resource at each of our sites but having that expertise within group operations means that everyone can tap into that knowledge, and it gives the ops team an added layer of support as and when they need it.”

PHASE TWO

The temporary structures tender that ran in 2025 was phase one of two. The second phase, which will include cabins, some fit-out, power, non-built-in washrooms, and fencing, will begin around June.

“Phase two includes some structures that we needed to park because we had some considerations about whether we were changing them,” Kitching continues. “For example, there are some changes to make at Newmarket but 30 per cent of their footprint is still to be developed in terms of their future plans.

“It’s so important to get the procurement process right that we didn’t want to rush into firming everything up, given that some of our strategic vision might change.

“Jim, our new group chief executive, has got a clear direction and vision for the business and now we have £100 million of capital investment, it supports some of that bigger picture strategic thinking.”

Kitching explains further: “We have a new chief executive who wants to drill into the spend across our major events. These new processes and measures we are implementing mean we can now hold ourselves fully accountable for the detail and we can be really accurate in our position that

we’re presenting back. Therefore, we have to make sure that our business model is being delivered in the most effective and efficient manner going forward.”

DELIVERING A VISION

According to Darren Lander, group facilities and compliance manager at The Jockey Club, Cheltenham Festival’s success was achieved through professionalism, diligence, and teamwork.

In fact, the festival’s build phase alone comprised 110,000 working hours, 457 risk assessments and method statements, reviewed using Work Wallet, and 146 separate contractors – that’s a huge number of suppliers to keep track of and a massive procurement exercise.

Currently, The Jockey Club is in the process of moving to a new procurement system called Coupa. Plus, Kitching and her team are busy making sure they have key frameworks and service level agreements in place that will “level everything up” and ensure consistency across the group. This will enable the business to move forward with ease as it earmarks significant proportions of its £100 million investment into projects that have been put forward by Cheltenham, Aintree, and Epsom Downs racecourses.

For example, at Cheltenham, some areas of the main grandstand will be upgraded and The Centaur and Gold Cup suite will be refurbished. At Aintree, there are plans to construct a permanent structure overlooking the Red Rum Garden and there’s a desire to create new racegoer facilities and enclosures within the centre of the course

during the Randox Grand National Festival. Lastly, at Epsom Downs, there will be a full refurbishment of the Queen Elizabeth II stand and upgraded facilities in the Duchess Stand to improve the experience both on racedays and for conferences and events.

All of these improvements are aimed at improving the customer experience, driving returns that can be further invested in the business. But all of these improvements will require significant investment in event infrastructure and equipment.

“It’s really exciting stuff,” Kitching concludes. “As a group, we are focused on driving efficiencies and best practice and so we’re looking at supply chain management and cost optimisation. It’s great that we are all aligned and that as a business, we’re all ready to help Jim to deliver his vision.

SUPPLIERS LIST

Temporary structures – Losberger De Boer, Arena, Fews Marquees, and Mar-Key Group

Helicopter terminal – Technical Overlay by Visions and Helipad Events

Toilets – PTL and Zoo Events Group

Power – Power Logistics

Fencing – Zone Secure

Security and stewarding –

Carlisle Support Services

PA – Show Hire

AV – DB Pixelhouse

Site and contractor management

(tented village) – PB Global Events

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Driving force

From traffic and transport planning to car parking and comms, StandOut delves deep into the world of traffic management

n 2025, DF Concerts and Events worked closely with You. Smart. Thing. (YST), the travel demand management platform, to help festivalgoers travel more sustainably to Glasgow and Edinburgh Summer Sessions. The promoter had opted to trial the solution, hoping it would increase customer’s uptake of public transport at both events; subsequently, improving the visitor experience, enhancing operational capacity, and reducing the organiser’s carbon emissions.

DF Concerts partnered with YST and deployed the travel assistant for Glasgow Summer Sessions. With the travel assistant including key event specific services such as Happy Bus, gate-specific access routes, and key road closures, the promoter was able to offer ticketholders a tool containing digestible travel advice. Journey options included gate specific routing and detailed accessible options, with all journeys weighted towards the lowest carbon modes.

“More than 70 per cent of our carbon emissions is linked to travel and how people

get to our gigs,” explained Katt Lingard, head of event operations at DF Concerts and Events. “We really need to understand how we can influence the audience’s choice and influence that behaviour.”

PERSONALISED TRAVEL PLANS

DF Concerts worked with YST to get in touch with customers before the event. Using their postcode, YST created a personalised travel plan for each customer.

Ticketholders were encouraged to access the travel assistant, a task made easier by embedding it in travel specific webpages. Links to personalised travel plans were embedded into pre-event emails and thanks to a comprehensive comms strategy, fanreported public transport use increased from an average of 23 per cent in 2024 to 46 per cent in 2025.

SUSTAINABLE TRAVEL

DF Concerts analysed the data and took the lessons learned from Glasgow before

deploying YST for a second time in Edinburgh. With Edinburgh Summer Sessions taking place outside of the city at Royal Highland Centre, the travel assistant favoured sustainable travel as the easiest option. It was a success. Fan-reported public transport use increased from 41 to 59 per cent.

Lingard continued: “YST lets the customer know which is the easiest journey and which is the lowest carbon option to get to site.

“I guess it’s similar to power,” she added. “We don’t talk about power anymore. We talk about energy management. Traffic and transport are no longer looked at in isolation so we now think about our wider transport management plans as one, understanding where things overlap, what brilliant transport options there are, and how we can possibly reduce our carbon emissions and make people more confident to come to our site using public transport.”

AUDIENCE BEHAVIOUR

Lingard said that DF Concerts now has a heap of data to show people’s travel choices. But as the 2026 events season hots up, DF Concerts wants to check whether customers did actually travel via their reported travel options or whether they changed their mind and opted for another mode of transport. Such information will give DF Concerts an even greater understanding of audience behaviour and help it to build a long-term transport model and communications strategy.

“We did see a decline in the car park ticket sales and we did see a big uptick on the number of passengers that used public transport,” Lingard continued. “So, everything indicates that giving people additional information has been really helpful.”

COMMUNICATION

With 38,000 travel plans generated, DF Concerts is now preparing to use YST across all outdoor shows in 2026, including TRNSMT.

“Like any system, we have to look at when’s the right time to communicate with people about transport,” Lingard said. “We don’t want to communicate too early or too late so we’re looking at how we can leverage the platform because I think it has more potential if we can integrate it more fully with our websites and our ticketing experience.

“At the moment, people buy their tickets first, and then they hear about transport at a later date. But I would love to have information ready at the point of sale, giving people their personalised travel plan and asking them when they’re ready to pay whether they can commit to public transport. If we knew exactly how many people were using public transport, we could improve our transport plans. So we need to think how we communicate that with our audience and help them understand how their choices impact emissions.”

WHICH LEVERS NEED PULLING?

Lingard warned that there are so many variables and things to consider. For instance, whilst many organisers push audiences towards park and ride schemes, public

transport options, and car sharing initiatives, they must also remember that these measures could reduce car parking revenues.

Such factors must be taken into account when planning traffic and transport measures. Joe Milner, principal consultant in Steer’s sports and major events team, agrees. He supports organisers with their wider transport planning, everything from bike lanes and bicycle hire schemes to routing strategies and extra capacity on the rail network.

“There’s more to transport than just how people travel to your event,” explained Milner. ‘For example what enhancements can be done? Take a Sunday timetable for a train operating company. Can you strengthen the service by adding more carriages to an existing train? Or, depending on where a train is and where you are in the country, can you ask for additional stopping services?

“There is an operational network knock on effect from factoring in the time it takes to stop and start the train and people getting on and off but there’s also potentially wider impacts than that. So for example, if you’re in London on the overground, and you’re going from four trains an hour to six, where are those other trains coming from? A train doesn’t just appear out of nowhere. It’s coming from elsewhere in the network, so transport planning is all about balancing service delivery, impacts, risks and mitigations.

“We often talk about it as, what levers are you pulling? Where does the lever need pulling to support the event but also not impact the wider transport network?”

SOFA TO SEAT

According to Milner, a customer’s traffic and transport experience can have a huge impact on their overall view of an event. He referred to it as the “sofa to seat” experience. If you have a really bad journey getting to an event, you will worry about how you’re going to get home, which may result in people leaving a live event or concert early.

“That’s not fair and that’s not right,” Milner said. “Customers pay a lot of money for a ticket, so you don’t want a poor transport experience to be their lasting memory of a show.”

This point is echoed by BUKO Traffic and Safety, which is set to launch BUKO Digital, a tool that will complement the company’s traditional traffic and transport management services. So, how does it work?

If a local resident goes for a walk, for example, and sees an event poster, they can scan a QR code and it will open WhatsApp. They will be able to ask traffic/travel questions in any language. Or a local resident could ask a question about parking permits, access, or road closures.

However, it’s not just a tool that will answer questions specific to a large-scale event. Lee Wilkinson, events traffic manager at BUKO Traffic and Safety, said that it can be used at community events, giving local people advice on when the next bus is coming, for instance.

BUKO – which is providing services to Roundhay Festival this summer – believes that

the digital tool will be able to answer 90 per cent of enquiries but the ten per cent that can’t be answered, can go straight through to the organising team, who can hop on a call.

DIGITAL SOLUTIONS

BUKO Digital is available on a subscription service with various packages available. It’s a solution that has been born from resolving the pain points of traffic management, said Wilkinson, and there’s the option for organisers to purchase an “essential service” or a tailor made offer. But ultimately, it comes down to what products would work best for a specific audience and hyper-personalisation – creating plans that give people choice and make travel and transport planning easier.

However, it’s not the only new digital tool on the market. CSP has launched CSP Intelligent Parking System (CIPS) – an end-to-end intelligent parking management platform that combines Automatic Number Plate Recognition (ANPR) with QR code validation, operating via a Progressive Web App (PWA) on standard smartphones and tablets. The platform supports flexible booking types, dynamic pricing, customer communications, and real-time capacity control – all managed through a centralised admin and client portal.

EXHIBITION MENTALITY

Both CIPS and BUKO Digital will soon be deployed on large-scale events to help organisers with their traffic and car parking operations. Similarly, Carbonite Traffic Solutions will work alongside LS Events this summer and use its Voyage Control platform to assist the event production company.

The traffic management specialist is working alongside LS Events on Barcode, GroceryAid’s flagship fundraising event that combines a festival with an exhibition. Carbonite’s Steve Howe – and his “exhibition brain” is assisting LS Events’ production team with the event’s traffic management plan.

Carbonite’s Voyage Control software will be used on the event, assisting the Barcode team with vehicle bookings and logistics. Plus, Howe’s RHS Chelsea Flower Show mentality will be used to increase efficiencies on-site and enhance the build and de-rig experience for more than 120 brands at the festibition.

STAKEHOLDER ENGAGEMENT

This year, Carbonite is writing traffic management plans for Taste of London also and the company’s Will Humphreys is currently assisting OSMO Projects with traffic plans as it builds The Arts Theatre at Marble Arch, a new 550-capacity pop-up theatre. This project has required the closure of two central London bus stands so that vital deliveries can be made, safely.

It’s a project that has required clear comms with all drivers arriving to the site, which has been achieved by building strong relationships with all stakeholders involved.

It’s a measure that is so important to the success of a project, said Des Bruce, senior ops manager at Carbonite. Wilkinson agreed and

said: “We’re not scared to put our face to our plans. Since COVID, the number of stakeholder engagement meetings has increased but we’re benefiting from them because we’re building stronger relationships. It’s not just down to the organisers anymore to manage stakeholders. We’re taking a lot of that responsibility because it gives our clients peace of mind and it’s one less thing for them to do.”

PARKING SOLUTION

Phil Weeden, managing director of Kelsey Media’s motoring portfolio, concurred. Like Lingard and Wilkinson, he argued that communication and stakeholder engagement are key to good traffic management.

Especially when comms need to both manage expectations and audience behaviour.

Kelsey Media organises Japfest, Ford Fair, and Trax at Silverstone. Wise Parking and Tracsis work with Kelsey Media on traffic and parking plans to get Japfest’s exhibitors and visitors off the local road network as quickly as possible. In particular, over the last three years, there has been a big push to get a wider understanding of how many cars are arriving on site, when, and where from.

Weeden explained: “At Japfest, the public parking at Silverstone is pretty much at capacity. We are trying to encourage more car sharing where possible because Japfest has grown exponentially. We were hitting capacity in our car parks and we needed to do something about it.”

He continued: “There are roughly 4,000 vehicles inside the pay gate. That’s a combination of clubs and individual displays. There’s also 5,500 public cars parked up inside Silverstone’s car parks, and there’s another 1,000 campers at Whittlebury Hall, who leave their cars and walk to the site so the logistics are complex.

“We have to get those 4,000 vehicles inside the pay lane, and parked up in just over two hours because we want people’s experience to be a pleasurable one – once they’re parked up, they can enjoy the show.”

HAPPY CUSTOMERS

Japfest has worked with Wise Parking for some years and it’s a partnership that Weeden described as “frictionless”.

At Japfest, Wise Parking creates a pre-paid parking facility on-site, which charges all customers £10 to park their car. Customers have the option to pre-pay for parking or pay a slightly increased fee if they choose to pay on the day, using Wise Parking’s intelligent pay and display parking system that syncs with ANPR tech to provide an accurate and easy parking solution.

The solution is proving popular as organisers learn to understand the positive impact it can have. In fact, this summer, Wise Parking is not only working with Kelsey Media. The company is also assisting WOMAD, Blenheim Palace Festival, Rock Oyster, and The Great Run Company, helping organisers to get customers off the road as quickly as possible and into a car park.

Stuart Cole, founder of Wise Parking, explained that his company’s solutions not only reduce capital expenditure for organisers but they also improve traffic flow.

He concluded: “If you make it painful for your visitors, either by using difficult technology or systems prone to breaking down, the overall event experience can be negative. We help organisers create a positive parking experience before a customer leaves home that’s why it’s so important to get traffic and parking right because it means your visitors are in the right place mentally to enjoy the experience you have to offer.”

CARBONITE TRAFFIC SOLUTIONS

Hay up!

AEG Presents’ Roundhay Festival will debut at Leeds’ Roundhay Park this July. LS Events’ Ian Nolan, the festival’s operations director, walks StandOut through the festival’s vision and challenges

f you have ever been to Leeds then you will know not to pronounce the “H” in Roundhay Park. If you do then the locals will know that “You’re not from round ‘ere”. It’s a small thing but one that Ian Nolan, projects director at LS Events, has taken on board during his time in the city. Since last summer, he has spent many days in the unofficial capital of Yorkshire. At first, he was conducting a feasibility study and simply scoping out the idea for a new festival. Now, his days are spent putting together intricate event management and transport plans for Roundhay Festival – AEG Presents’ major new music festival that will take over the park on July 3 and 4.

UNIQUE IDENTITY

Nolan is sat on a bench in Roundhay Park, telling StandOut about the last eight months of his life. He is picking up the local lingo and accent, he says. In September, AEG Presents revealed that Roundhay Festival – launched in collaboration with Leeds City Council –will debut in 2026, delivering significant economic and social benefits to the local area.

“Roundhay Festival is a new brand,” explains Nolan, operations director of

Roundhay Festival, as he sips coffee in the sun. He is keen to quash any notion that Roundhay Festival is a northern version of BST – another major festival that LS Events also produces and delivers on behalf of AEG. “It’s going to be an amazing event. It is in a beautiful location. It’s got a great line-up that is its own thing and we will be celebrating its unique identity as something that has been designed very authentically for Leeds.”

WE CAN DO IT!

As the first signs of spring bloom in the park, Nolan points out the site’s many unique features, including Hill 60, a steep hill that descends into Roundhay Park’s main arena. Again, if you know the city and Roundhay Park, you’ll know it’s not flat. Yet, the park has legacy and has hosted large-scale concerts in the past. In fact, huge audiences have seen Madonna, U2, and The Rolling Stones play the park in the 80s and 90s. So if it’s good enough for Madonna, “We can do it,” Nolan exclaims.

“We have regular meetings with Leeds City Council and the park events team,” he continues. “They’ve got a huge amount of experience of delivering events within

Roundhay and the great thing about the park events team is that they’re responsible not just for events, but also for the park. So there’s no second department that we have to speak to about groundworks or trees or usage. It’s one team that has responsibility, which is really great.”

EMBRACING THE SITE

Nolan describes Leeds City Council as both “incredibly proactive” and “welcoming”. As a local authority, it wants Roundhay Festival to happen. But to make things work, to ensure Roundhay Festival is both a long-term commitment and opportunity for all parties involved, a partnership approach is needed.

Nolan is working alongside Leeds City Council’s Becky Meers, as well as LS Events’ Steph Kenning, site manager, and Harry Walthew, deputy site manager, who both realise that they will have to build into the park’s “undulating” features.

“We’re taking the festival into smaller areas,” Nolan says, pointing to various pockets of the site. “We’re looking at where sanitation blocks can go and we’re looking at bar locations, so rather than putting a 30-metre bar in, we’re putting in a series

IAN NOLAN (he/him)

of pop ups so that they can embrace the changing ground conditions.

“We’re embracing Hill 60 and looking at how it can be used as a viewing area,” Nolan continues. “We’ve also split the site between a west entrance and east entrance, so that if people arrive through the west entrance, at the top of the hill, they have all the services and infrastructure – bars, concessions, medical, sanitation, merchandise – to service them.”

A BENCHMARK TO BUILD ON

LS Events and AEG Presents recently submitted to the council version two of the event management plan. There’s a licensing review in May and the site build begins on June 17. With Roundhay Festival looming, Nolan is constantly thinking about what will make life easier for the site and operations team and what will make the festival more enjoyable for all ticketholders.

“In the middle of the west and east entrances is the main arena itself and this will comfortably hold up to 70,000 people, if not more,” Nolan explains. “There’s plenty of space for people to bring their picnic blankets and in the future, we are discussing how we can build upon the surrounding area with cocktail areas, and hidden gardens with a wine bar.

“We have the space and we’ve got the luxury to be able to offer our customers a premium service. Not just for those that are buying a VIP upgrade but also general admission customers. They will come and they will have the space to bring their picnic blanket and have a beautiful view everywhere.

“We’re looking to deliver a premium event with world-class music, and the plans for that are very much with the AEG programming team. We want to deliver a safe, successful event, and use it as a benchmark to build for the future,” he adds.

LEARNINGS AND LEGACY

According to Nolan, Roundhay Park is a beautiful, historic location, and provides an incredible backdrop for AEG Present’s aspirations to deliver a high quality, high profile music festival in collaboration with Leeds City Council and the Leeds community. Together, the local authority, AEG, and LS Events are working together to create a legacy for the city. Something that the people who live, work and study in Leeds are proud of and want to attend, says Nolan.

This is just one reason why Roundhay Festival has a dedicated community manager, someone who is proactively engaging residents, businesses, schools, and universities and connecting with them.

For example, in June, when load-in commences, LS Events will host a cohort of students on-site to give them a first-hand experience of the festival during its build stage. And Nolan and his team are also working closely with Leeds Beckett University to ensure students have access to employment opportunities. More initiatives that will ensure the festival leaves a positive legacy.

But that’s not all. LS Events has also carried out a huge amount of cross project work. The event production specialist has looked at how it can consolidate work flows and ensure all four AEG shows – Roundhay Festival, BST Hyde Park, All Points East and Lido – offer the same standard of service to customers and share policies, procedures, and learnings with other team members. It’s about consistency, attention to detail, and developing a core standard that customers – in Leeds or London – will all appreciate.

PRIMARY FOCUS

Currently, Nolan is liaising with colleagues to discuss sustainability learnings from Lido festival, which he describes as “brilliant” and “ambitious” because sustainability is a big focus for Nolan and his team. For starters, the park has a substation, which Roundhay Festival would love to tap into. Some systems upgrades would be required but Nolan has already spoken with Northern Power Grid, which fully understands LS Events’ and AEG’s aspirations to utilise capacity, bring green energy onto the site, and leave a much larger lasting legacy once Roundhay Festival has closed its gates.

“We want to deliver a safe, successful, sustainable event,” says Nolan. “That’s the primary focus for LS Events and the primary purpose in year one.

“Looking at the longer term, we have big ambitions for power and really want to get that grid connection so at the very least the stage is powered by grid power. It’s a huge investment. It’s a huge amount of work that needs to be done and when you’re a one off event, looking at how that cost sits is a big challenge, right? But you have to look at it with a long-term view, which is why it’s so important to work with the council to look at how we leave a positive legacy.”

Roundhay Festival will take place on July 3 and 4.

SUPPLIERS LIST

Staging – Star Live

Portable buildings – Search

Traffic management – BUKO

Transport consultancy – Steer

Security – Showsec and Compact

Radios – Ninehundred Communications

Medical – Medigas

Fire and build and break medical –

Oak Valley

Welfare – TLC Welfare

Bars – Peppermint Bars

Technical production –

Proper Productions

Sound management – Vanguardia

The Stage Bus is an event production and stage hire company with a difference; all of their stages are solarpowered! Based in Birmingham and covering outdoor events nationwide, The Stage Bus proudly boasts an eight-strong fleet of stages that are amongst the most innovative around. Visit their website for more information or call their friendly, knowledgeable sales team.

BRADSHAW EVENT VEHICLES

20 years and counting

wanted to call my business Suffragette Penguins,” explains Sarah HemsleyCole, founder of SC Productions. HemsleyCole is talking to StandOut about the early days of her career as her production company prepares to celebrate its 20th anniversary.

She is a self-confessed big fan of penguins – the animals not the biscuits – and a big fan of the suffragettes. Naturally, she considered combining two of her favourite things and registering the name at Companies House.

“What stopped you?” StandOut asks, knowing Hemsley-Cole is not one to shy away from standing by what she believes in.

“My accountant was very unimpressed with the idea,” says Hemsley-Cole, smiling, as she looks back on the growth of her business, including everything from company values to artist riders and being a woman in events.

VISION

Through every phase of her career – whether it be sole trader or limited company –Hemsley-Cole has earned her event stripes. Whilst SC Productions will celebrate its 20th anniversary this year, Hemsley-Cole has been working in events for more than 30 years.

She had no grand vision to create a “big” organisation. Setting up SC Productions as a limited company was purely a financial move. But, regardless of size or original ambition, Hemsley-Cole has created an incredibly successful event production and artist liaison company that can call Creamfields, Bloodstock, Kilimanjaro Live, and Urdd Eisteddfod long-standing clients.

“I’ve been working in events for 30 years so 20 years is a bit of a misnomer, but it just suddenly makes you think, ‘OMG’. Time feels like it has stood still, and yet it hasn’t. So much has happened. It’s like a 20-year party.”

A DIFFERENT ENERGY

Hemsley-Cole is honest in her appraisal of what has been. In the early days, she had no massive vision. To this day, the business expands and contracts accordingly with the summer months, drawing on valued freelancers to scale up or down for a breadth of projects – from artist liaison roles to site and

event management contracts. In fact, when SC Productions is full throttle, Hemsley-Cole’s core PAYE team of nine can go up to 80 thanks to freelance support.

“It’s a lot of people to be responsible for,” says Hemsley-Cole, acknowledging just how far her business has come. “But I think the thing that has made a big difference is Jake [Warriner] who has been with the company for ten years and a director for five of those. He has made a difference in the sense of sharing that responsibility, in terms of leading the company, and looking after the staff.

“Having a buddy has made a huge difference because when you’re the boss, it doesn’t matter what you say or what you do, you’re always the boss.”

Hemsley-Cole continues: “Jake is really solid in what he does. He has ambition and a different energy to me. I’m at that point in my career where I just like doing things that I like doing whereas he’s still got that drive and wants to go out there and find new things. So we really complement each other.”

STRENGTHS

Hemsley-Cole admits that she is still really happy in her shorts and boots stomping around a field, putting things in and taking them out again. She drifted into the artist world in the early 2000s and coincidental circumstances led her to develop a side of the business that takes care of all artists “whims and wonders”, everything from angel dust and blue M&Ms to inflatables and £499 bottles of wine. “It’s amazing what you can buy on the

Sarah Hemsley-Cole on 20 years of SC Productions, including ambition, attention to detail, and penguins…

JAKE WARRINER (he/him) AND SARAH HEMSLEY-COLE (she/her)

Images: © Brown Fox Communications/Richard Hardcastle/Kiran Ridley/Ethos

PASSION OF PORT TALBOT

BRADSHAW EVENT VEHICLES

20th

BIRTHDAY

THANK YOU TO ALL OF OUR VALUED CLIENTS, STAFF, FREELANCERS AND CONTRACTORS FOR THE PAST 20 YEARS OF WORKING TOGETHER ...HERE’S TO THE NEXT 20!

Internet these days,” explains Hemsley-Cole. “I always say that I love the excess of rock and roll and the detail of theatre.”

It’s one reason why SC Productions is revered and respected by high-profile organisers and promoters. “It’s all in the prep,” Hemsley-Cole adds. “One of our great strengths as a company is our ability to ebb and flow. We’re really adaptable and you’ll find either myself, Jake, or Lisa [Hall] at every show we do because otherwise, why is it an SC Productions’ delivery?

“Jake and I have spent a lot of time in the last five or six years, really making the company about the company, not me.

“I probably still am the figurehead but work doesn’t come in solely now because of me. It comes in because of the company’s reputation and how we deliver projects.”

Hemsley-Cole calls this the SC Productions’ “touch” but when asked what the “touch” is, she can’t quite put her finger on one thing.

“People say to me that they know when someone’s worked at SC Productions and it’s probably got something to do with the discipline of what we do, being thorough, being a good site assistant, a good site manager, having knowledge, and just approaching things in a certain way.”

PRIVILEGE

According to Hemsley-Cole, attention to detail says a million things about your attitude to work. It’s one of the things she tries to instil in those who work for the business or who the business touches, even if it’s someone with the company for a short time or a mentee. Again, she wants them to leave “peppered with that SC Productions touch” and continued passion for the live events industry.

Hemsley-Cole continues: “I’m really enthusiastic about what I do and I’m excited still to get out of bed every day and do a job that I absolutely love. I realise that’s a real privilege. Not a lot of people feel like that about what they do and so the hardest thing for me sometimes is saying, ‘No’.

“Learning to say, ‘No’ has been a journey, and I think I’m better at it now, but I’m not brilliant. I get very seduced by doing the things I want to do, which, as we always joke in the office, I want to do everything. Especially when a new show comes in.”

WETTEST SHOW OF MY LIFE

Hemsley-Cole says that over the last 20 years, she has learned to be more humble. As you grow, she says, as you mature, sometimes that raw passion when you’re younger, those edges, don’t need to be there. But without that same passion, Hemsley-Cole would not have the business she has now – nor the experience that she can pass on to others.

She is a big believer in championing and supporting young people and still has a working, professional relationship with the Royal Welsh College of Music and Drama of which she is a fellow.

“I’m just so passionate about what I do,” Hemsley-Cole explains. “Even now,

AR WAITH AR DAITH

sometimes I can’t see why someone else wouldn’t be that passionate or focused on what we’re doing, nurturing young people and taking them on a journey with us.”

That includes showing them the nonglamorous side of events – the “grunty” work, as she puts it, recalling “the wettest show of my life” at Wakestock in 2012. When she was soaked to her knickers. But there’s also the work that puts a smile on your face even though it will deplete you of every physical and mental resource you have.

Take, for example, The Passion of Port Talbot, which saw Michael Sheen play a modern Jesus figure in a 72-hour live retelling of the Passion story. It featured more than 1,000 local participants and culminated in a crucifixion scene on the beach. Thousands watched. Hemsley-Cole produced the show and to this day, it’s just one of her proudest achievements. But she’s also really proud of Ar Waith Ar Daith, an outdoor theatrical show that cemented Warriner’s beginnings with Hemsley-Cole and the team in 2015.

“When I first presented The Passion to the SAG team in Port Talbot back in September 2010 I mean, they literally looked at me like I was mental,” she recalls. “I went through everything we were going to do, what the three days was going to look like and then they just looked at me and they said, ‘You probably need locking up’. And then they said, ‘Have you ever done this before?’ And I said, ‘I’ve done bits and we’ll be fine’.

“Seven months later, they said, ‘Oh my God, you actually did this’. It was extraordinary and brilliant all at the same time and it showed what can be done if you all just work together.”

THE FUTURE

Hemsley-Cole values close working supplier relationships. She understands what great

suppliers bring to the table and cites Sunbelt Rentals’ Geoff Gorringe as a personal fave, alongside Buffalo Power, Excloosive, Monnow Marquees, Tracsis Events, and HML 2014’s Huw Lewis.

“We have really good relationships with the people we work with,” Hemsley-Cole comments. “You have to have trust – they have to trust us and we have to trust them.”

But what of the future and next 20 years? “I want the company to continue and succeed

and keep doing what we’re doing,” she says. “We have a great portfolio of events and we’re creating a team to take it all on when I’m not here. I’m currently steering the ship and Jake and I are working on a long-term plan.”

“I’ve got a good ten years left in me, but time goes quickly,” Hemsley-Cole concludes. “I mean the years fly by, don’t they? Jake wants to take the company forward and I think that’s an absolutely great thing and I’m really, really proud of that.”

SARAH HEMSLEY-COLE (she/her)

ExcLOOSive Events Hire Ltd supply high quality portable toilet and shower facilities to multiple sites, Festivals and weddings. No event is too big or too small. Based on the Staffordshire / Derbyshire border, we are well placed for many events throughout the country.

We can provide a complete range of conveniences, from luxury models to single toilet units and showers, to suit any event large or small. Whatever the occasion please contact us to discuss your requirements on:-

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ExcLOOSive strive to maintain excellent standards of hygiene and good housekeeping, receiving wonderful reviews from our clients.

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Think beyond the perimeter

Sunbelt Rentals’ Sophie Murray, national account manager, discusses barrier layout and what organisers should consider

arrier layout is often treated as an afterthought, a line of crowd control solutions dropped in on the morning of an event. But ask anyone who has managed entry and exit at scale, and they will tell you the same thing: how you lay out your barriers and fencing is how you design the experience of arriving and leaving events, safely and without friction.

Effective barrier layout works in layers, drawing people in gradually from the wider local area rather than funnelling them all to one point at once. Think about what is happening on the streets surrounding your venue, not just inside your footprint. Managing flow from further out allows you to control density before it becomes a problem.

One of the mistakes we see is organisers approaching us in isolation, requesting a quantity of barriers without providing the full picture of what they're trying to achieve. The more context we have upfront, the more tailored our solution can be, which is why early engagement with your infrastructure supplier is essential.

Our long-running support of the New Year's Eve fireworks in London illustrates what this looks like in practice. The foundation of that success is early engagement: right at the start, the customer shared the full event brief, we helped design the layout, assembled a dedicated project team and built a phased delivery schedule. On the day itself, a live tracker app gave the events team real-time visibility of where every piece of kit had been delivered and installed.

Since the pandemic, a new challenge has emerged: increased crowd pressure at ticketed events driven by a rise in people attending without valid tickets. In response, we have developed a crowd control barrier. Around 5kg heavier than the standard design, with additional weight concentrated low in the foot to lower the centre of gravity.

With Martyn's Law now making its way through legislation, the expectation on organisers to demonstrate rigorous access planning has never been clearer. That means thinking about hostile vehicle mitigation as part of your barrier strategy, not as a separate security layer.

So, our advice to organisers is simple: start conversations early, share the full picture, and treat your barrier layout as a core piece of operational design. The infrastructure is only as good as the planning behind it.

ExcLOOSive Ltd, Field House, Bromley Park, Abbots Bromley, Rugeley, Staffordshire, WS15 3AH

ExcLOOSive Ltd, Field House, Bromley Park, Abbots Bromley, Rugeley, Staffordshire, WS15 3AH

Rethinking access

Event professionals discuss the importance of access control measures and how innovative products can increase safety on site

ffective access control systems are designed to identify unauthorised guests or crew members, making it easier for an organiser to keep their event spaces and venues safe and secure.

Traditionally, event accreditation and access has been seen as an administrative function but more and more organisers are moving access control measures into a different column on their spreadsheet.

Kate Griffiths, head of accreditation at Ginger Owl Productions, says that access control has moved into the security budget; a move that “makes sense” when the security of your site is paramount, she argues.

“I’m always quoted as saying this but accreditation used to be, ‘Your name’s not down, you’re not coming in’,” Griffiths explains. “That was as far as anyone thought about access control. But as events and internal structures have got more complex, we’ve had to think differently about how we control who can get where.”

She continues: “Before, there might have been an event and only some people could get on stage. That was a clear delineation of access control. Now you’ve got to consider that most events have guest areas, some paid for, some not, or special areas that you might need staff to get into. It’s fine for ticketholders because there’s a clear ticketing structure. But for staff, you don’t necessarily want every single staff member to be able to get into every particular area. This has led to access control needing a more considered approach from organisers. Who is the contractor? Why are they here to do? Where do they need to go? And how many need to go and do it?

“For example, you might have a team of ten or 20 servicing a protected area, like dressing rooms. But you might need to then consider that a contractor needs to split that group further into two parties, creating a smaller group of workers that are allowed into an even more secure area.”

According to Griffiths, this approach is forcing organisers to drill down into the detail, taking into account capacities and customer experience because no one wants to hang out in a VIP area full of plumbers!

Thankfully, the majority of organisers are taking access control more seriously and are calling on experts to spot “loopholes”, identify possible pinch points, or even notice when systems are overly complicated.

RFID

Simple wristband systems are favoured by many organisers because from a cost perspective, they are cheaper to implement. However, Griffiths and the Ginger Owl team, which is working with NW Live on Brighton

Pride this year, are starting to see larger events shift towards RFID technology.

The big advantage with RFID tech is that data enables an organiser to streamline operations. Fast. For example, personnel could be redeployed to support a particularly busy gate or accreditation window. Furthermore, real-time data can also identify which members of staff are repeatedly trying to get access to a restricted area. Which makes for an interesting conversation!

“This will only increase with the introduction of Martyn’s Law,” says Griffiths. “Organisers will have to be able to demonstrate that they know who’s on site at a given time, and that’s something that RFID absolutely allows for.”

GINGER OWL PRODUCTIONS

SECURITY PREPAREDNESS

Martyn’s Law, officially known as the Terrorism (Protection of Premises) Act 2025, received Royal Assent in April 2025 and is expected to be fully implemented by spring 2027.

The legislation mandates that public venues and events with a capacity of more than 200 people must take reasonably practicable steps to improve security and preparedness against terror attacks. Yet, whilst the legislation focuses on procedural changes, it provides a strong case for organisers and venues to consider additional measures, such as CCTV, HVM, and access control systems.

ACCESS CONTROL

NEW PRODUCTS

In 2024, Ginger Owl launched GOAllAreas, a single, intuitive tool that combines accreditation, access control, health and safety compliance, asset management, document control, vehicle management, and sustainability tracking. It’s joined on the market by Accredit Solutions’ new Accredit OS product, which is designed to bring greater clarity, control, and visibility to access and workforce operations, and Pass Sheet Pro, a web application developed to simplify the manual process of creating event pass sheets.

However, these are not the only new products on the market that have been created to help organisers with access. For instance, Dutch Barrier Services has launched the Smart Access Turnstile that can be integrated with a growing number of ticketing and accreditation platforms and Gardner Engineering has launched a series of Britishmade access control products, including the Lock Cassette, 3U Access Control Shelf, and 6U Vertical Wall Box – all of which are designed to handle busy live environments in a secure manner.

SECURE EVENTS

Event freelancer Sophie Phillip is an event and operations expert and event control specialist. She discovered Pass Sheet Pro in 2025 and loved the solution so much that she is now an ambassador for the product. With significant event control and on-site experience, she understands the importance of access control and has – unfortunately – seen one too many examples of lax security when it comes to pass sheets and laminates.

Consequently, she is now “hooked” on Pass Sheet Pro because with just a few clicks of a button and a pass sheet matrix, pass sheets can be printed and distributed accordingly. The system’s quick nature makes it easy for organisers to create new pass sheets if there has been a policy change, if you run out of a certain kind of pass, or if passes have been stolen [and it does happen], for example.

GAMECHANGER

Pass Sheet Pro – launched by Rick Latham – has a site map function, which enables the user to “drop your gates in”. Hover over the map and you can see which pass sheet

is allocated to which gate so if you are in event control, access routes can easily be identified and updates can be made quickly, if necessary.

Phillip describes the system as a “gamechanger” especially when you may have more than 40 different pass types and several different zones to consider. Why? Because with security costs rocketing, spending large sums of money on security is pointless if the pass sheet is wrong or no one can read it. “So what’s the secret to great access control?” StandOut asks.

“Control,” Phillip explains. “Actually having control over access and knowing what’s on every gate and making sure that the person who is putting your pass sheets out, knows what’s going on.

“Also, make access visual,” she concludes. “There are a lot of security guards working right now and their first language is not English, so make sure pass sheets are really, really, really clear.

“Have clear sections where you can write on pass sheets, in whatever language you want because they have to be crystal clear.”

Sponsored by Ginger Owl

GINGER OWL PRODUCTIONS

DUTCH BARRIER SERVICES

HYDE PARK WINTER WONDERLAND

Winter wow factor

Organisers of winter events share their insights, lessons learned, and plans for 2026 and beyond…

ust weeks before Hyde Park Winter Wonderland opened its gates to thousands of excited customers, MARI procured IMG’s Arts and Entertainment portfolio, which included London’s muchloved festive spectacle. The acquisition was a big move. However, it was not the only “new chapter” for the event and its team.

“2025 marked the start of a new eight-year contract with The Royal Parks,” explained Suzy Griffiths, vice president and executive producer of Hyde Park Winter Wonderland, which welcomes more than three million visitors each holiday season.

“Securing a long-term contract allows us to take a more strategic view of how the event evolves over time,” Griffiths continued. “It gives us the confidence to invest in largerscale changes, while remaining responsive to how visitor expectations continue to shift.”

REFRESHED LAYOUT

Hyde Park Winter Wonderland is a mainstay of London’s winter calendar. Therefore, to ensure it remains front and centre, Griffiths and her team must create new features to encourage people to come back time and time again and conduct a thorough event debrief so it can move forward with confidence.

“Last year, we introduced updated branding, a refreshed layout, and new theming, which gave the event a clear sense of momentum and renewal,” Griffiths said. “In

particular, we focused on developing seven distinct themed zones, including a significantly enhanced children’s area called Santa Land.

“Working with production partners, including Bearded Kitten, Area 51, and Illusion, we introduced a more immersive approach through animated entrances, bespoke lighting, themed façades, and a redesigned Santa’s Grotto and Elves’ Workshop. The response was very positive, with visitors spending more time in the space and engaging more deeply with the environment.”

MAKING PLANNING EASIER

Griffiths and her team continue to evolve key areas of the site. As with any large event, ongoing improvements to operations, ticketing, and sustainability – whilst not all visible to visitors – play an important role in enhancing the overall experience year on year.

Planning is well underway for 2026, and the team is continuing to build on last year’s changes. Griffiths explained further: “This year, we are focusing on the area around the ice rink – Skater’s Corner – as well as introducing new entrance features to strengthen arrival points from Hyde Park and Knightsbridge.

“We are also currently focusing on the overall visitor journey,” she added. “While the breadth of the offer is a strength, we recognise that it can sometimes be complex to navigate, particularly for international

visitors. We are, therefore, looking at how we simplify communication and decision-making, making it easier for visitors to plan their visit and access the best options available.

“Like many large-scale events, we are seeing a continued shift towards later ticket purchasing,” Griffiths commented. “While visitors are planning in advance, they are committing closer to the time, so we are adapting our approach to accommodate this behaviour while maintaining a strong visitor experience.”

NEW NAME

Silverstone’s Hannah Sheppard, senior event manager, can resonate. She is working alongside her colleagues to ensure visitors to the circuit’s festive experience have a seamless visitor journey, too. However, Silverstone’s winter event – which is working with ADI – will no longer been known as Lap of Lights. Instead, the festive experience will have a new name and branding this year and the circuit’s illuminated track will be a feature of the event but not its sole focus.

Having taken on valuable feedback from 2025, Sheppard is looking at costs, price points, and available activities. This is whilst she liaises with Silverstone’s marketing team on a new name and moves the event across to Secutix, a ticketing platform that can deliver the journey that Silverstone “wants its customers to go on”.

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“We’re nailing down exactly what we want to include this year,” Sheppard said. “Last year, we produced Santa’s Garage, the first time we’d delivered an experience with Santa, and it went down an absolute storm. We got some really good feedback from that so I am pleased to say that Santa will definitely be returning to us this year.

“Also, and it’s not feedback but one of the main learnings is about how big of a venue we are. I know this may sound silly, but obviously we’ve got a lot of space to fill so we don’t want to dilute anybody’s experience.”

She continued: “Everybody wants to come here and they want to be able to drive their car on our circuit. So that will remain but we want to figure out how to use the area a bit smarter and make sure we can utilise as much infrastructure as possible so you get more of an experience throughout what is quite a long journey through the venue.”

VISITOR FEEDBACK

Previously, Lap of Lights had used several areas of The Wing but in 2025, the team moved some activations to the circuit’s garages. And if you are into motorsport, to be in a Formula One pit garage is a “once in a lifetime” experience.

Sheppard explained: “People really liked what we created. But there was quite a lot of feedback from people wanting a bit more to do. We’re taking that on board and we will be increasing what we do on-site this year.

“There will be more activities for people, to fill out more of their day or evening. We know that customers want more to do yet we don’t just want to put a load of stuff out there that costs lots of money. We’re trying to find that balance, particularly around what is a fair price point.”

CUSTOMER DEMAND

GL events believes that one of the main challenges organisers are facing is around space and how to use it effectively when expanding winter events. Therefore, it is working with its clients to help review orientations and product options to help increase capacity, while maintaining high standards within the confines of an event footprint. Tom Alldread, project director at GL events UK, said: “The direction of travel is clear, with demand for more immersive, highmargin F&B and premium experiences at the heart of the approach to make the economics stack up in these challenging times.”

EVOLVING EVENTS

According to a study by The Harris Poll UK, 52 per cent of consumers would prioritise activities and social events over expensive Christmas presents and 44 per cent prioritise experiences over “stuff”. Both statistics demonstrate the power of events as “enablers of togetherness” and signal that friends and family appreciate moments that matter more than material things. Hence, the popularity of a Christmas light trail or festive market shows no sign of waning. A view shared by GL events UK.

LAP OF LIGHTS

The temporary overlay, structure and seating specialist said that organisers are looking to evolve their events – especially those that may have started life as a simple Christmas market before turning it into an immersive experience with bolt-on activations such as ice rinks, light trails, and premium food and beverage offers.

“We are having conversations now with three customers specifically about ice rink structures at winter events later this year,” explained Alldread. “Another trend we are seeing is organisers looking to extend the winter season into September and through to January. This means they can maximise the value of their temporary infrastructure, with events for Halloween and Oktoberfest becoming real drivers behind this growth.”

SPENDING HABITS

GL will be back at The Piece Hall, Halifax, this Christmas where it will be providing around 50 pagodas. Plus, the GL events team is returning to Lapland UK in Manchester, working with the immersive event’s team to take the event to “even greater heights”.

Zoe Bottrell, managing director of Culture Creative, can relate as she now plans this year’s portfolio of Christmas light trails and “strives to make sure that the audience experience is developing and it’s new and fresh”.

“We retained and very slightly increased our ticketing numbers over the portfolio last year and put 2.6 million people through our shows,” she said. “But I think people are really

conscious of what they’re spending, because there’s a lot of unknowns out there.

“The economy is creating caution for us all so people will consider more where they’re going to spend their money, purchasing tickets a lot later and I think it will be the same this year. As a promoter, you’re having to hold your breath longer. You can’t control that so you’re having to deal with it and create targeted experiences for different generations of a family,” Bottrell said.

TALKING BAUBLES

Bottrell and her team are currently looking at six new venues, worldwide. Nothing is signed yet the Culture Creative portfolio continues to grow and develop its offer. But how?

“There’s a general desire across a number of our venues to bring in, I’m going to say Santa’s Grotto, but not necessarily in the traditional sense. We’re looking at how we can elevate that children’s level of entertainment.

“We’ve certainly begun to look at something that has a working title as ‘Techno Grotto’ where we could use AR and VR so that’s a bit different. Because we’ve got to realise that what we were happy with as kids is completely different. You have five and six year olds who are more competent on an iPad and their levels of interactivity with technology, even at a young age, are quite advanced; so the experiences they want at that age need to try and follow suit.

“Micro technology is something that’s becoming more and more important. I think

we’re all used to big projection on the front of a building but actually, how can you create some of those little interventions, those nuances? It’s the hidden magic, which I’d like to think we’ve been really good at from day one. We need to get back a bit into that, because it’s not all about what is immediately apparent and in front of you. It’s actually what are the special little moments that people notice. And actually that takes quite a lot of work to make those things happen.”

According to Bottrell, whilst she hates what’s called a “wow” moment, she feels that memorable moments do not have to be a big firework display. Instead, successful events, and not just winter events, can be a small prop. It doesn’t have to involve screen time, it doesn’t need to involve a phone or content on a “digital thing” that a customer can have in their hand. Rather, technology can bring the ordinary things to life.

“Take Blenheim Palace, for example,” Bottrell explained. “And a bauble on a Christmas tree. How can you make that bauble talk?

“We love to deck the palace out with mini sculptures for children to find; that is going back to basics. But there’s also the need to make that bauble talk at the same time because just having a bauble on a tree isn’t enough for this generation. They need it to do something,” Bottrell concluded.

“That’s where there’s a battle – maintaining what we’re doing and doing it well so that audiences return year on year.”

THE PIECE HALL

Drive footfall and increase dwell time with our scalable structures, elegant pagodas, signature marquees, eye-catching overlay, HVAC and festive lighting to create a complete winter experience.

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Immerse yourself

Light, sound and AV solutions have the ability to deeply connect an artist or brand with an audience. Read on as StandOut looks at light, sound, and AV best practice

ologram AI concert experiences may look futuristic, with their computergenerated 3D illusions of artists performing on stage. But research from the University of South Florida shows their success depends on something very human: ethics, trust, and emotional connection.

The findings show concertgoers care less about the novelty of the tech and more about whether the performance from their favourite musician feels respectful.

The recent success of ABBA Voyage and the Tupac hologram at Coachella show how audiences embrace these performances as opportunities to relive a cultural moment.

Researcher Seden Dogan, lead author of the paper called Reviving Legends Through holographic AI Event Experiences: Consumer Acceptance and Value Insights, said that audiences cared more about whether the holographic was a true representation of the artist more than the innovation and technology behind the experience.

According to Dogan, the report’s findings will help organisers understand how audiences perceive holographic AI tech beyond a

concert. But moreover, a key takeaway is that in tech-driven entertainment, innovation comes second to human connection.

LIVE INTERACTIONS

In February, immersive hologram technology was deployed at the EE BAFTA Film Awards when reality stars Jamie Laing and Sophie Habboo hosted movie stars and holographic film fans at the event.

UK film fans were beamed live onto the event’s red carpet in London, giving them a once in a lifetime opportunity to interview their favourite celebs. Thanks to EE’s latest 5G+ technology, the fans, situated 166 miles away in Bath, appeared live on the red carpet as life-size holograms, giving them unprecedented access to one of the biggest nights in the film calendar.

EE Red Carpet hosts Laing and Habboo brought the moment to life on the EE stage by hosting the holographic experience, guiding global stars through the live interactions with the hologram fans.

The EE activation brought audiences closer to the action and it’s the perfect example of

how AV technology, creativity, and storytelling can be used to interact with guests.

NEXT-LEVEL FAN EXPERIENCE

But it’s not just AV that has the ability to bring a live event to life. Light and sound play a huge part, too. And when combined, the results can be magical. Disguise’s VP of sales Dan Baum concurred. “Whether it’s for sport or live music, films or TV broadcasts, audiences in 2026 want to be more than just passive viewers. They want to be included as a genuine part of the experience,” he said.

Disguise, Visual Noise, and PRG successfully completed their work on MDLBEAST Soundstorm last year, combining creative, technical, and production expertise to deliver a “next-level fan experience” at the festival. Creative production studio Visual Noise produced visuals and oversaw cameras across seven of the festival’s stages along with hundreds of informational screens throughout the site. The flagship Big Beast stage, delivered by PRG, was redesigned to showcase ultra-low-latency visuals on a vast LED canvas capable of ingesting 10 UHD 4K

feeds whilst Disguise powered every stage and screen, with the festival being the first in the region to deploy its new GX 3+ server.

Visual Noise handled all the screens across the festival, managing a web of interconnected content ranging from performance visuals across all stages, to house looks, wayfinding, and scheduling information.

As part of this ambitious site-wide infrastructure, the new “Downtown” district of the festival acted as a gathering place for crowds, offering a multi-storey experiential site filled with immersive screens and stages. The result was a more connected festival with visuals that could be updated in real-time on a huge scale to both entertain and educate fans, elevating their overall experience by ensuring they never missed a moment.

SMOOTH RUNNING

But whether you’re organising a festival or a conference, your guests – whether festivalgoers or delegates – do not want to miss any content.

For example, Microsoft Ignite, Microsoft’s flagship event for developers and IT professionals, draws more than 20,000 inperson attendees and more than 200,000 digital participants. Last year, it featured a 360-degree LED screen for slides, demos, and live visuals. Therefore, to ensure this large-scale production ran smoothly for both in-person and online attendees, it required the use of sophisticated video distribution and control.

For the 2025 event in San Francisco, High Resolution Engineering was enlisted to support the operation, using Lightware’s MX2 48x48 HDMI 2.0 matrix switcher alongside three Christie Spyder X80 video processors to ensure flawless switching, control, and video quality of all audience-facing video screens.

Lightware provided the backbone of the event’s video distribution system, routing

more than 30 4K60 10-bit video feeds from media servers, PowerPoint machines, and an Unreal Engine server while distributing the signals to the video processors. These processors then drove 18 4K outputs to a complex arrangement of LED screens around the stage. The unique stage design featured three levels of screens: ground, mid, and high-level, allowing presenters to turn in any direction whilst ensuring all visual content was visible from every angle.

THE RIGHT TOOLS

With more than 142m pixels spread across 20 ROE LED screen surfaces, Microsoft Ignite’s setup highlighted the importance of using the right products for large-scale events.

Ashley Ball, video technical manager at Adlib, agreed. The right choice is paramount. He said that light, sound, and AV technology must be specified in response to a specific idea or request, rather than the starting point – the best tech for the job should be used because it meets a requirement. Sometimes that will be cutting edge and other times, it will be analogue. Regardless, when all elements come together, it should create a moment that feels unique to that production, audience, or performance.

Lighting designer Chris Scott could not agree more. He has recently worked on the 30th anniversary tour of Young Voices, one of the most technically complex education based touring productions in the world, which brings together school children from across the country to sing and perform in UK arenas.

Unlike a traditional concert where the stage naturally becomes the visual centre, Scott believes that the most important experience in the room is happening throughout the seating bowl. The choir often occupies a significant portion of the arena seating, sometimes filling almost half the venue, which places

the emphasis firmly on lighting the audience environment rather than the stage alone.

For the majority of the show, Scott’s priority is ensuring the choir is evenly and sensitively lit, allowing thousands of children to feel visible and connected, rather than lost within the scale of the arena. At the same time, the production must seamlessly accommodate guest headline artists and live bands, requiring the lighting system to transition quickly into a more conventional stage and band focused environment without disrupting the overall flow of the show.

Scott explained that this balance fundamentally shapes his design decisions and product choices. But really it’s open conversations and collaboration that remains central to the tour’s success, as well as new LED source luminaires, a live sound solution from Britannia Row, and ensuring each venue on the tour has the same tech spec so that all audiences get the same magical experience.

Will Smith, managing director of Hire Frequencies, is in agreement. The event production specialist was recently called on by Two Tails Productions to deliver full AV across a roadshow for Murphy Group.

Each venue was delivered with an identical technical specification: Uniview UR Pro video wall, Hire Frequencies custom built PPU, Chauvet Rogue Outcast BeamWash fixtures, Martin Audio FP8 speakers, Allen and Heath SQ5 mixing desk, DPA headset microphones, and integrated scenic branding.

For Two Tails Productions and Murphy the success wasn’t just delivery — it was consistency across every location. When the end client is celebrating 75 years, every room needs to feel like the main event and so Hire Frequencies worked closely with Two Tails Productions to achieve this.

The result: a seamless touring experience across all eight dates.

MICROSOFT IGNITE

EE BAFTA FILM AWARDS RED CARPET

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Shine on

Independent festival GemFest has ambitious growth plans and a young and ambitious team driving them. PullUp Recordings’ Sam Morgan, GemFest’s co-founder and ops director, reveals all

f you chat with PullUp Recordings’ Sam Morgan right now, he’d tell you that things are “pretty insane”. In the last 14 months, he has been busy working alongside his team to ensure GemFest, PullUp’s very own independent festival, continues to make strides and builds on the momentum that has got it to where it is now.

What started in 2023 as a large private birthday bash turned into a 1,400-cap event in 2024, a 5,000-cap festival in 2025 and in 2026, GemFest will welcome an 8,000-cap crowd.

Morgan describes the festival’s growth as the “natural next step” for a lot of smaller event promoters. What might start as a small gig gathers steam and once you start to scale your events, you dreams get bigger too.

“We launched GemFest in 2024 and 1,400 people turned up,” explained Morgan. “At the time, we were like, ‘This is absolutely mental’. People who had visited our other events were turning up and going, ‘Wow, you’ve pulled off something really special here’ and we’d basically built it from nothing.”

FINDING A NEW SITE

2025 was a big year for Morgan and the PullUp Recordings team. They had found the perfect festival site between Monmouth and Hereford and the plan was to put the festival’s campsites on the Welsh side of the site and the stages in England. But as the event got closer, the team soon realised that they were going to surpass their original goal of 3,000 ticket sales; and there were no signs that sales would slow down. The team had to make a decision and quickly decided to move site. The original location was not going to work for a larger crowd.

“Sam, my business partner, reached out to ten other sites but we didn’t really get many bites,” Morgan continued. “Until the Earl of Suffolk reached out and responded to an email. He told us that WOMAD was moving on and he was looking to bring new festivals onto Charlton Park.”

FIVE-YEAR DEAL

PullUp Recordings and the Earl of Suffolk had a conversation and the rest is history. GemFest moved to Charlton Park and one

week before the festival’s 2025 outing, the festival sold out. The team’s decision to move venue and go for 5,000 ticket sales proved to be the right one and now, Wiltshire Council has given GemFest’s application for a permanent premises licence the green light. Furthermore, PullUp Recordings has signed a five-year contract with the Earl of Suffolk to host the festival on the estate with specific plans to grow it over the next three years.

“We want steady growth,” Morgan said. “We have capacity to go to 15,000 over the next three years. We aim to go to 12,500 in 2027, and 15,000 in 2028.

“To think of that is super daunting; super scary. To think, in two years, GemFest has grown five times in size when we didn’t know what to expect but we’ve pulled it off, when so

many people did not believe in us, and we’ve proved them wrong.”

LESSONS LEARNED

This year, GemFest is growing in more ways than one. As well as the increase in capacity, the festival is expanding from a three-day event to four and there are five new stages, taking the stage count to 11. But that’s not all. There’s a restructured hierarchy so ops managers are empowered to make decisions, there’s a site redesign – because now the team has had the luxury of a full year to really consider content and what it wants to put where – and there’s the adoption of tech and a new build and delivery schedule.

Morgan continued: “We’ve got more time to build the site. Last year, we had five days

SAM MORGAN (he/him)

EVENTS

• Complete Eco-conscious Waste Management

• Strategic deployment based on footfall.

• Supplying Recycling Bins and Skips of all sizes.

• Comprehensive Plant Hire for all event needs.

• Competitive and flexible pricing.

Tel: 01453 822227 (option 1) Email: mailbox@smiths-gloucester.co.uk www.smiths-gloucester.co.uk

• Tailored training to the event industry

• End to end event safety management

• Ongoing support for suppliers

Tel: 07557 669523 | Email: olly@acumensafety.co.uk Web: www.acumensafety.co.uk

EVENT MEDICAL COVER & FIRST AID SERVICES

A MEDICAL PARTNER, NOT JUST A PROVIDER

GemFest is a well-established multi day music festival with a diverse audience profile, varied terrain, and a dynamic risk environment. The organisers required a medical partner who could go beyond simply supplying sta and instead take ownership of the medical provision throughout.

Marches Ambulance Service was engaged early in the planning phase, allowing us to work alongside the event team to build a compliant, proportionate, and operationally robust medical plan. This included producing detailed documentation aligned with The Purple Guide, supporting risk assessments, and ensuring the provision was scalable across peak attendance periods and grew with the event.

We acted as the event’s medical representative within Safety Advisory Group (SAG) discussions, providing clear, practical input to support decision making and ensure all stakeholders had confidence in the proposed medical arrangements.

Our involvement extended to advising on casualty flow, treatment facility positioning, and escalation pathways. By taking a proactive approach, we were able to identify potential pressure points early and design a model that mitigated risk while remaining commercially sensible for the organiser.

The result was a tailored medical provision that integrated seamlessly into the wider event infrastructure, reduced operational burden on the organising team, and ensured a safe environment for attendees, sta , and performers.

Marches Ambulance Service continues to support GemFest as a trusted delivery partner, combining clinical governance with practical event expertise.

and the first day was the delivery day. We’d planned for a lot of equipment to arrive on the Friday but we started to realise that some of our suppliers had the dates backwards so had our show down as November.

“For example, no telehandlers had arrived on time so deliveries arrived but we couldn’t offload them. In terms of a delivery schedule, that was probably one of the biggest learnings so I’ll be tweaking the schedule and making sure equipment arrives on-site and on-time this year.”

Morgan added: “Also, last year, we thought people would come after they finished work on the Friday but how wrong was I! By 10am on Friday morning, the traffic queue was massive. We had to problem solve on the spot so that was a big lesson learned, too.”

TECH

Software is a big focus for the GemFest team. In 2025, Morgan hired Fred Hopkins, who used to work in IT, and together they have built some “really useful tools”, which will massively help the business.

Morgan commented: “For instance, we’ve developed Tix Hub because we don’t use one single ticketing platform. We are studentaimed and we use multiple platforms – like FIXR, Skiddle, and Resident Advisor. But the problem with using multiple ticket platforms is that you can’t see one version of the truth to track all your tickets; you have to build a spreadsheet so I did just that. I built a spreadsheet and I had one of my teams spend an hour, every morning, updating it, pulling all the numbers in manually on each ticket type that had been sold. And I thought, ‘There must be a better way of doing this’. So I have built a tool using AI that allows you to use that exported data and with a couple of clicks, pulls all the metrics into that tool for you.

“And the other really exciting tool that we’ve created is called Complaints Hub, which is basically a form on a website that people fill in and it gives them a reference number. But what’s really cool about it is the admin view – when a complaint comes in, it makes a sound and it leaves a pin on a map so you can see exactly where their house is, what they’ve complained about, where they’ve complained from and work out if there’s a bit of a pattern. Now, we’ve not tried it yet but we think it should work really well and give us really useful data.”

MOVING FORWARD

Talking of data and insight, the GemFest team is now on version five of the new site plan, which will see the festival use more space within a wooded area that was so popular with punters in 2025. Plus, the 2026 event will see event operations separated out from event control and the use of a new app called Woov will enable GemFest to build a “cool” festival map full of useful information for customers. There’s a lot going on, including the growth of a young and ambitious team that has strong development goals in its sights.

But what is Morgan looking forward to the most this year? “That’s an interesting

question,” he said. “I’m hoping to have a bit more free time, personally, rather than spending my last hour on the Sunday, checking out an artist for ten minutes.

“But the biggest thing will be our continuous improvement because I want to be more efficient.

“I remember in 2024 when I stood at the back of the field, and me and John [Lewis, cofounder] stood next to each other, and we just went, ‘Wow, we built that’.

“That moment of just seeing what we’ve achieved, how much our team grows each year, all the customers having a great time, and then seeing the content that comes out of it. It’s amazing.

“We got grilled by Wiltshire Council in our SAG last year but we had an answer to every single question. Then, at the debrief, they told us they were so impressed with us. So, I guess, the hard part is done now. We moved site, our customers are happy, we’ve sold out with two months to go and so now it’s just about giving our customers an even better experience and moving forward,” Morgan concluded.

SUPPLIERS LIST

Event safety – Acumen Safety

Site management and operations –

Ops People

Site design – Event Site Design

Security – Alliance Management Group

Medical cover – Marches

Ambulance Service

Welfare – IThink

Noise management – Joynes Nash

Set and stage design – Sosa Studios

Event production – Lysergic Productions and Kritikal Productions

Crew catering – Melt Events

Power – Event Power Engineering

Radios – Contact Radio

Waste management – Smiths of Gloucester

Portable buildings – Garic

Temporary structures and tents –

County Marquees and Mikata

Wi-Fi – Bytes Digital

ACCESSIBILITY & INCLUSION

Opal Temporary Access Ltd

Norfolk Road, Gravesend, Kent, DA12 2PS

T: 01474 568100

E: info@opaltemporaryaccess.com

W: www.opaltemporaryaccess.com : @opal-temporary-access-ltd

ALUMINIUM TRUSS & SUPPORT STUCTURES

UK & Ireland

TAF-UK Ltd

Truss

8 Fryers Road, Walsall, West Midlands

WS2 7LZ United Kingdom

T: 01922 495 396

E: sales@taf-uk.com

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: www.lighthouse-events.co.uk/ : @lighthouseeventsuk : @lighthouse-events

NSR Communications Ltd 16 Caxton Way, Watford, Hertfordshire, WD18 8UA

E: james@nsrcommunications.co.uk

W: nsrcommunications.uk

: @nsr-communications-ltd

: @NSRComms

Press Red Rentals Limited

Unit H11, Halesfield 19, Telford, TF7 4QT

T: 01952 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

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

Innovative Hire

Unit N, Lion Works Estate, 543 Wallisdown Road

Bournemouth BH12 5AD

T: 01202 941 068

W: innovativehire.co.uk

Pop-up-Pubs T: 01993 832155

E: info@pop-up-pubs.com

W: www.pop-up-pubs.com

BRAND ACTIVATION & EXPERIENTIAL

BRANDING

Instant Marquees

T: 01840 213063

W: www.instantmarquees.co.uk

Sunbaba

Queen Elizabeth Olympic Park, Plexal, Here East, London E20 3BS

T: 0208 988 9100

E: info@sunbaba.co.uk

W: www.sunbaba.co.uk

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

Innovative Hire

Unit N, Lion Works Estate, 543 Wallisdown Road

Bournemouth BH12 5AD

T: 01202 941 068

W: innovativehire.co.uk

NSR Communications Ltd

16 Caxton Way, Watford, Hertfordshire, WD18 8UA

E: james@nsrcommunications.co.uk

W: nsrcommunications.uk/ : @nsr-communications-ltd : @NSRComms

BUGGY HIRE

CABINS

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

: @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

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

CLEANING & SUPPORT SERVICES

Falcon Cleaning

Chipping Hall Farm, Chipping, Herts SG9 0DP

E: info@falconteam.co.uk

W: www.falconteam.co.uk

W3W: bless.loses.typed

The Nu Group

T: 0208 594 0800

E: info@thenugroup.co.uk

W: www.thenugroup.co.uk

Top Mops Event Services

7 Bell Yard, London WC2A 2JR

T: 0800 970 4035

E: info@topmops.net

W: topmops.net

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 Ltd

Unit 1063, Kent Science Park

Sittingbourne, Kent ME9 8PX

E: neil@mintcommand.com

W: www.mintcommand.com : @neilminter : @MinTcommand : @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: office@mldeventgroup.co.uk

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: optimalcrew.co.uk

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

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 : @s3kgroup : @s3kgroup

Stage Miracles Ltd

The UK’s Leading Crew Company

We supply crew in:

London (and surrounding areas), Leeds, Hull, Sheffield, Birmingham, and more Rooms 39-40, The Enterprise Centre Cranbourne Road, Potters Bar EN6 3DQ

T: 01707 662 500

E: mail@stagemiracles.co.uk

YOUR Group - A global workforce

T: 0203 576 2330

E: connect@your-group.co.uk

W: www.your-group.co.uk

: @your.comp.group

: @your-companies-group

Video: https://vimeo.com/yourvid/ presentationuk

CAR PARKING

COFFEE BARS

DRONE DISPLAYS

FlightShows

T: 020 3151 6891

E: hello@FlightShows.com

W: www.FlightShows.com

: @flightshows : @flightshows : @FlightShows : @flightshows_drones

EQUIPMENT HIRE

GAP Event Services

CityPoint 2, 25 Tyndrum Street, Glasgow, G4 0JY

T: 03330 094 153

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

EVENT CONSTRUCTION

Setstage Ltd

T: 01274 265217

E: info@setstage.co.uk : @kate-greenwood-82315223

EVENT CONTROL, RADIO & WI-FI SERVICES

Controlled Events

T: 0203 286 6392

E: info@controlledevents.com

W: www.controlledevents.com

EVENT MANAGEMENT

Bright Events Ltd

T: 07856588815

W: www.brighteventsltd.com

: @karen-edwards-events

CM Production Management Ltd

T: 020 8056465

E: hello@cmpm.co.uk

W: www.cmpm.co.uk : @cmpmlive : @cmpmlive

LFX Events

Unit 10 Merchants House, Market Place, Stockport, SK1 1EU

E: enquiries@lfxevents.co.uk

W: www.lfxevents.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

Culture Creative

T: 01665 798 007

E: info@culturecreative.co.uk

W: www.culturecreative.co.uk

SC Productions Ltd

T: 02921 850 650

E: admin@scproductionsltd.com

W: scproductionsltd.com

Visions Live

EVENT SAFETY

Unit 2 Thames Valley Connect, Western Road, Bracknell, Berkshire RG12 1QP

T: 01189 358121

E: info@visionsgroup.co.uk

W: www.visionsgroup.co.uk

Acumen Safety

T: 07557 669523

E: hello@acumensafety.co.uk

W: acumensafety.co.uk

LFX Safety

Unit 10 Merchants House, Market Place, Stockport, SK1 1EU

E: enquiries@lfxsafety.co.uk

W: www.lfxsafety.co.uk

Number 8 Safety

The Hay Shed, Sparrows Lane Matching Green, Essex, CM17 0RP

T: 0203 7437292

E: info@number8events.co.uk

W: number8events.com

Radius

Desklodge House, Redcliffe Way, Bristol, England, BS1 6NL

E: info@radius-events.com

W: www.radius-events.com

: @radiuseventsltd

SafetyDocs

Conect Ltd 483 Green Lanes, London, N13 4BS

T: 0208 242 4942

E: info@safetydocs.org

W: safetydocs.org

EVENT SERVICES

Number 8 Hire Ltd

The Hay Shed, Sparrows Lane, Matching Green, CM17 0RP

T: 0203 7437292

E: info@number8events.co.uk

W: www.number8events.com

EVENT STAFFING AGENCY

Event People

E: hello@weareeventpeople.co.uk

: @weareeventpeople : @event-people

EXHIBITION STAND CONTRACTORS

Access Displays Unit 38, Whitehill Industrial Estate, Whitehill Lane, Royal Wootton Bassett, Swindon, SN4 7DB

T: 01793 613088

E: sales@accessdisplays.co.uk

W: www.accessdisplays.co.uk

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

EVENT VEHICLE HIRE

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: augustaeventsupport.com

Zone Secure

Gorsley Business Park, Ross on Wye HR9 7SD

E: info@zonesecure.co.uk

W: www.zonesecure.co.uk

FESTIVAL GAS

Festival Gas

Priors Revel, Church lane, Middleton, Nr Tamworth, B78 2AL

T: 07930 758893

E: simon@festivalgas.co.uk

W: www.festivalgas.co.uk

FLAGS

Red Rose Fire Solutions Ltd

6 Brissenden Close, New Romney Kent TN28 8JD

T: 01995 503504

E: info@redrosefiresolutions.co.uk

Virtus Fire T: 01895 590212

E: office@virtusservices.co.uk

W: www.virtusfire.co.uk

Instant Marquees

T: 01840 213063

W: www.instantmarquees.co.uk

FLOORING & FLOOR COVERINGS

Coir Store 8-9 Yelverton Road, Brislington, Bristol BS4 5HP

T: 07983 614410

E: info@coirstore.co.uk

W: coirstore.co.uk

Event Flooring Solutions Ltd

T: 01509 768 252

E: sales@efseurope.co.uk

W: www.efseurope.co.uk

FURNITURE HIRE / SALES

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

Innovative Hire

Unit N, Lion Works Estate, 543 Wallisdown Road Bournemouth BH12 5AD

T: 01202 941 068

W: innovativehire.co.uk

HEATING & COOLING SYSTEMS

Cooling & Heating Solutions Ltd

Marlwood House, Silver Street, Lymington, Hampshire, SO41 6DG, UK

T: 01590 681 434

E: sales@candhs.co.uk

W: coolingandheatingsolutions.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

Dawsongroup tcs

Dawsongroup | tcs

Export Drive, Sutton-in-Ashfield, Nottinghamshire NG17 6AF

T: 01623 518538

E: info@dgtcs.co.uk

W: dgtcs.co.uk/inflatable-cold-rooms

INSURANCE

Tysers Insurance Brokers

71 Fenchurch Street, London, EC3M 4BS

T: 0203 037 8000

E: tim.rudland@tysers.com

W: www.tysers.com

LASER & FX

Laser Grafix

Unit 4A Stratton Park, Biggleswade, Bedfordshire, SG18 8QS

UK office: 01767 315948

Dubai office: +971 4887 9808

E: info@lgfx.co.uk

W: www.lgfx.co.uk

LED SCREENS

EMF Technology Ltd

Unit 27 Freemantle House, Kingsclere Business Park, Kingsclere, Hants, RG20 4SW

T: 020 8003 3344

E: info@emftechnology.co.uk

W: www.emftechnology.co.uk

Lightmedia Displays

Mobile & Modular LED Screen Hire

T: 0333 600 6000 – 24 hour response

E: sales@lightmedia.co.uk

W: www.lightmedia.co.uk

Tech AV Ltd

London, Essex, Birmingham

T: 0345 257 9969

E: lee@techav.events

W: www.techav.events

YSLV

London & York

T: 0800 080 3310

E: hire@yslv.co.uk

W: www.yslv.co.uk

LIGHTING TOWERS

Boels Rental

LITTER PICKING

T: 01245 208031

E: dale.fletcher@boels.co.uk

W: www.boels.com

Falcon Cleaning

Chipping Hall Farm, Chipping, Herts, SG9 0DP

E: info@falconteam.co.uk

W: www.falconteam.co.uk

W3W: bless.loses.typed

MARQUEES

The Nu Group

T: 0208 594 0800

E: info@thenugroup.co.uk

W: www.thenugroup.co.uk

Top Mops Event Services

7 Bell Yard, London WC2A 2JR

T: 0800 970 4035

E: info@topmops.net

W: topmops.net

Alternative Stretch Tents

Building 15, Gateway 1000, A1 (M) jct 7, Stevenage, SG1 2FP

T: 01920 830256

E: info@alternative-stretch.co.uk

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

Instant Marquees

T: 01840 213063

W: www.instantmarquees.co.uk

Mahood Marquees Ltd

8 Lords Fold, Rainford, Saint Helens WA11 8HP

T: 01744 882 079

W: mahoodmarquees.com

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

E: hello@ziggumarquees.com

W: www.ziggumarquees.com

MARQUEES ACCESSORIES

Opas Southern Ltd

Enterprise House, St Lawrence Avenue Worthing, West Sussex BN14 7JH

Free Phone: 0845 1300 477

E: sales@opas.co.uk

W: www.opas.co.uk

MEDICAL SERVICES

First Aid Cover Ltd

T: 020 8875 5758

E: enquiries@firstaidcover.co.uk

W: www.firstaidcover.co.uk

Location Medical Services Ltd

The Medical Centre, Shepperton Studios,

Studio Road, Shepperton, Middx, TW17 0QD

T: 0870 750 9898

E: mail@locationmedical.com

W: www.locationmedical.com

Medirek

8 Primrose Place, Portsmouth Road, Godalming

Surrey, GU7 2JW

T: 07776 128 409

safety and medical

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

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: 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

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

Head Office & Manufacturing Centre,

Unit 3, Swaffield Park Hyssop Close, Cannock

Staffordshire, WS11 7FU United Kingdom

T: 01543 574 111

E: enquiries@idesystems.co.uk

W: www.idesystems.co.uk

Instagrid UK Ltd

Silent, Clean and Portable Power

T: 07939 315074

E: andy.barnby@instagrid.co

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, Thetford IP24 3RR

T: 01733 554950

E: info@pearcehire.co.uk

W: www.pearchire.co.uk

Power Revolution

PRINTERS

Unit 9 Kelvin Place, Stanton, Bury St Edmunds, IP31 2AR

T: 01359 256 265

E: info@power-revolution.co.uk

W: www.power-revolution.co.uk

Robert Blezard Electrical Contractor Ltd

Unit 5, Fishes & Peggy Hill Fm, Clitheroe BB7 3BY

T: 01200 777 666

E: hello@robertblezard.co.uk

W: www.robertblezard.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: 01483 238 050 or 07850 367 917

E: chantal@thetechnicaldepartment.com

XLE Event Services

T: 01789 224227

E: info@xle.co.uk

W: www.xle.co.uk : @xle_events : @xleeventservices : @XLeventservices

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

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

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

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

: @marathoncomms

: @marathoncomms

: @marathoncomms

: @marathoncomms

RATCHET STRAPS

Ratchet Straps UK

T: 0333 2027110

E: sales@ratchetstrapsuk.co.uk

W: www.ratchetstrapsuk.co.uk

RECYCLING

Falcon Cleaning

Chipping Hall Farm, Chipping, Herts SG9 0DP

E: info@falconteam.co.uk

W: www.falconteam.co.uk

W3W: bless.loses.typed

The Nu Group

T: 0208 594 0800

E: info@thenugroup.co.uk

W: www.thenugroup.co.uk

REFRIGERATED STRUCTURES

Dawsongroup tcs

Export Drive, Sutton-in-Ashfield, Nottinghamshire NG17 6AF

Dawsongroup | tcs

T: 01623 518538

E: info@dgtcs.co.uk

W: dgtcs.co.uk/inflatable-cold-rooms

RENTAL EQUIPMENT

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

SAFEGUARDING

X2Consult Safeguarding & Child Protection

T: 01622 278702

E: tom@x2consult.co.uk

W: www.x2consult.co.uk

SAFETY TRAINING

Acumen Safety

T: 07557 669523

E: training@acumensafety.co.uk

W: acumensafety.co.uk

SCAFFOLD SYSTEM & TRUSS STRUCTURES

SRG Structures

SEATING

Oldbury Lane, Bristol, BS35 1RE

T: 0117 911 4034

E: info@srg-structures.com

W: www.srg-structures.com

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

ESM Operations

T: 07355 094162

E: info@esmoperations.com

W: www.esmoperations.com

Light of Night

T: 0203 189 2679

E: info@lightofnight.co.uk

W: www.lightofnight.co.uk

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 –: @ManchettGroup : @ManchettSec –

McKenzie Arnold Group

T: 01376 350 999

M: 07701 048 69

E: joanna.white@mckenziearnold.com

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 : @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

: @trojan-security-uk-ltd : @TrojanLondon

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 MANAGEMENT

SITE SUPPLIES

Special Projects, Site Management

T: 01738 505 747

E: info@specialprojects-uk.com

W: www.specialprojects-uk.com

Concept Products Ltd

10 Cary Court, Somerton Business Park, Somerton, TA11 6SB

T: 01458 274020

E: ben@conceptproductsltd.co.uk

W: www.conceptproductsltd.co.uk

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)

Second Avenue,Bletchley, Milton Keynes MK1 1ED

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

Serious Stages Ltd

Tor Hill Works, Dulcote, Wells, Somerset, BA5 3NT

T: 01749 899 188

E: info@stages.co.uk

W: www.stages.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: 0207 833 2031

E: rentals@steeldeck.co.uk

W: www.steeldeck.co.uk

STAND DESIGN & BUILD

Saward Marketing and Events

T: 07788 660996

E: admin@saward-me.com

W: saward-me.com

TEMPORARY BRIDGES

Mitchell Bridges Limited London Road, Kings Worthy, Winchester, Hampshire, SO23 7QN

T: 01962 885040

M: 07768630373

E: chris@mitchellbridges.com

W: www.mitchellbridges.com

TEMPORARY ROADWAYS

Cap Trac Limited

The Stables, Loke Farm, Weston Longville, Norwich, NR9 5LG

T: 01603 880448

E: info@captrac.co.uk

W: www.captrac.co.uk

TEMPORARY STRUCTURES

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

Innovative Hire

Unit N, Lion Works Estate, 543 Wallisdown Road

Bournemouth BH12 5AD

T: 01202 941 068

W: innovativehire.co.uk

Losberger De Boer

Castle Park, Boundary Road, Brackley, Northamptonshire, NN13 7ES

T: 01280 846500

E: sales.uk@losbergerdeboer.com

W: www.losbergerdeboer.com/uk

Media Structures : Imagine, Create, Deliver Green Lane Sawmills, Outwood, Surrey, RH1 5QP

T: 0203 781 7772

E: lance.baker@mediastructures.co.uk

W: www.mediastructures.uk

NEPTUNUS Ltd

Cob Drive, Swan Valley, Northampton NN4 9BB

T: 01604 593820

E: sales@neptunus.co.uk

W: www.neptunus.co.uk

Creative Structures

Creative House, Station Road, Theale RG7 4PD

T: 0118 380 5590

W: www.creativestructuresgroup.com

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

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

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

WH Silverbacks

Unit 26, Oakfield Road, Woolsbridge Industrial Park, Dorset BH21 6FE

T: 01202 096957

E: info@silverbacks.co.uk

W: whsilverbacks.co.uk

Worldwide Structures Ltd

Ayrshire Farm, Sharcott, Pewsey, SN9 5PA

T: 01672 565 060 / 07875 027369

E: enquiries@w-sl.com

W: www.worldwidestructures.com

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

TRAFFIC MANAGEMENT

BUKO Traffic & Safety

T: 0333 110 0020

E: sales@buko.co.uk

: @bukotrafficandsafety : @buko-traffic-safety : @bukotrafficandsafety

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

CSP (The Combined Services Provider)

Unit 1, Abloy House, Hatters Lane, Watford, WD18 8AJ

T: 020 8900 2405

E: sales@gotocsp.com

W: gotocsp.com

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

WASTE MANAGEMENT

Falcon Cleaning

Chipping Hall Farm, Chipping, Herts, SG9 0DP

E: info@falconteam.co.uk

W: www.falconteam.co.uk

W3W: bless.loses.typed

The Nu Group

T: 0208 594 0800

E: info@thenugroup.co.uk

W: www.thenugroup.co.uk

Top Mops Event Services

7 Bell Yard, London WC2A 2JR

T: 0800 970 4035

E: info@topmops.net

W: topmops.net

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

T: 01332 850 860

E: info@tess-ltd.co.uk

W: www.tess-ltd.co.uk

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: attend2it.co.uk

Fli-Fi Ltd UK Wide

T: 020 3778 0454

E: enquiries@fli-fi.com

W: www.fli-fi.com

NVENTS

T: 0330 043 5113

E: info@nvents.co

W: nvents.co

SimpliWifi Unit 13, Leominster Enterprise Park, Leominster, Herefordshire HR6 0LX

T: 0800 298 9434

E: hello@simpliwifi.agency

W: simpliwifi.agency

Editor Caroline Clift caroline@standoutmagazine.co.uk

Advertising manager

Jen Crisp jen@standoutmagazine.co.uk

Account manager

Sarah Bourne sarah@standoutmagazine.co.uk

Account executives

Lewis Briggs lewis@standoutmagazine.co.uk

David Powell david@standoutmagazine.co.uk

Marketing executive

Katie Goldsmith marketing@standoutmagazine.co.uk

Design and production

Neil Hepden

Jemma Heslop

Emma Hickman

Colin Swaffer standout@tandemmedia.co.uk

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

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