StandOut Magazine April 2024

Too wet to party outside? We’ve got you covered

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I

APRIL 2024

am writing this as news of two more festival cancellations has come across my desk. Sadly, I don’t think these will be the last ones that we will hear of this year, and it’s only March. The market is undeniably tough, and the reasons cited for these cancellations are the same. Rising costs, volatile markets, and decreased ticket sales have all played their part.

So far, 20 festivals have announced their cancellation. Each event has been developed and nurtured over the years by passionate event professionals who want to create memorable events for excited audiences. Some have pledged to bounce back in 2025 but where does this leave the industry right now? What’s the festival marketplace looking like and what are the big concerns facing promoters? In this issue, we have spent hours chatting with promoters, festival directors, and operations managers to get a temperature check. What are the challenges? What’s keeping people awake at night and what measures are being implemented to make festivals in 2024 the best ones yet?

Some promoters have opted to take festival marketing back in-house whilst others have made the tough decision to save money by shortening the length of their event.

Africa Oyé is looking at its sponsorship models to try and keep the event free and We Out Here’s Joe Barnett is carefully balancing the books. As well as rising production costs, he believes there’s a bigger challenge and that’s around inclusivity. As ticket prices continue to rise, there’s a demographic that was once on the brink of being able to afford a festival ticket. Now, they are priced out and that raises huge questions about accessibility to culture.

This is one of the reasons why – as well as campaigning for five per cent VAT on tickets – we should also be campaigning to save council-run events that serve communities and provide access to arts. We know that city-wide events and cultural programmes deliver huge economic and social benefits, yet council budgets have not just been cut; they have been slayed.

BCP Council, for example, has confirmed that Bournemouth Air Festival 2024 will be the last that the local authority continues to fund in its current format. It will invite proposals for an alternative model of delivery from 2025 onwards. Introducing a tourist tax on event weekends could be one way of funding the air show moving forward, but it’s clear from every single organiser that we talk to – no matter what kind of event it is – the bottom line is front and centre and everyone is conscious of passing on additional costs to the punter.

If you have news to share or are doing anything different on your event, please drop me a note. If we all share insight and bang our heads together, there’s always a solution to be found.

Happy reading,

SELLING FESTIVAL TICKETS MADE EASY

10 TENDERS

Check out the latest event tenders and new business opportunities

12 TAILORED APPROACH

Paul Costelloe’s latest autumn/winter 24 collection took over the Royal Horticultural Halls’ Lindley Hall

15 MANE EVENT

More than 250,000 racegoers enjoyed Cheltenham Festival 2024. StandOut went behind the scenes during the build

20 GET READY TO SOAR

What outdoor events can learn from the airshow industry. International Airshow Marketing’s Helen Webb reveals all

25 IDENTITY CRISIS?

Festival promoters discuss the business of festivals – the challenges, making culture accessible, and the importance of identity

30 LOVING THE JOURNEY

30 LOVING THE JOURNEY

Frankie Astle is a freelance event professional who loves being an operations manager. Here, she talks about staying calm, imposter syndrome, and why nothing beats a good event control room

33 LICENCE TO THRILL

Event organisers and operations professionals discuss festival developments and how they are improving event sites and the customer experience for 2024

43 GO WITH THE FLOW

Event organisers discuss their changing transport and traffic management plans

50 A FREELANCER’S LIFE

Day rates, imposter syndrome, and recognising your self-worth. Jo Dytch talks about life as an event freelancer and why freelancing is right for her, right now

12 TAILORED APPROACH

25 IDENTITY CRISIS?

50 A FREELANCER’S LIFE

This month’s

CONTRIBUTORS:

PAUL DUHANEY

Paul is the artistic director for Africa Oyé in Liverpool, the UK’s largest celebration of African and Caribbean music and culture.

Now in his 25th year of working for the organisation, Paul is responsible for the development of the annual music festival, which attracts more than 75,000 people each year. In addition to the festival, Africa Oyé programmes educational projects and concerts across the UK.

Paul is a founding board member of the Mandela8 group in Liverpool, which is building a memorial in the city’s Princes Park to commemorate Nelson Mandela’s legacy.

In this issue, Paul talks with StandOut about the business of live events and why he is looking at sponsorship models to cover the festival’s rising costs.

ZAN LAWTHER

Zan made the move into the music industry a little over 10 years ago when she realised that life is too short to hate what you do every day. In 2015, she moved to London and after a short spell repping for Kilimanjaro Live and AEG, she realised that she wanted a full-time role with Kili. From managing the promoter’s office move to spells in the marketing team and covering holidays, Zan soon found herself carving a space in the event management team and is now deputy event manager at Belladrum Festival. In this issue, Zan not only speaks with StandOut about new traffic management plans for the Scottish festival but also chats about changes to the event’s waste plans and accreditation systems.

HELEN WEBB

Helen is director of International Airshow Marketing, a specialist organisation that helps airshow organisers and aviation businesses build robust, ethical and profitable customerled marketing strategies. An experienced marketing and growth strategist, Helen is the former head of marketing for the Royal International Air Tattoo where she worked for 14 years. As well as being a board member of the European Airshow Council, a STEM Ambassador, and a trustee for Flying Scholarships for Disabled People, Helen is a keen walker and a lover of the great outdoors. In this edition, Helen discusses the challenges airshows face today and what outdoor events can learn from airshows.

Paul Duhaney image: © Wesley Storey

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Equinox Group has appointed Stefan Branco to the newly created role of director of special projects.

Cuffe and Taylor has appointed Tay Murray-Webb as event manager.

Nick Aston has been appointed site manager at LS Events

Freshwater has promoted Charlotte Homa to head of events.

has appointed Dave Powell as managing director.

Bill Wootten has been appointed director of business development at Water Direct

Jessica Davis has joined Imagination as project director.

Continest has appointed James Bramley as head of UK operations.

PIC OF THE MONTH

SKYMAGIC teamed up with People and Co and Emmy award-winning director, Mark A. Ritchie, to orchestrate a complex and ambitious drone show. The drone specialist landed a three-dimensional A380 plane on the North Runway of the newly renamed Zayed International Airport, Abu Dhabi. A team of 17 pilots flew 1,750 swarm drones and six camera drones. Filming took place in the early hours of the morning, as a falcon with a wingspan of 324 metres flew high in the night sky and morphed into an A380, three times the size of the actual aircraft (249 metres).

LINKEDIN POST OF THE MONTH

Burnout starts with poor planning. Right now, event freelancers will be playing the jigsaw of piecing together the rest of their year and looking at the gaps (if there are any left!)

These are the gaps that will keep you going, so if they look like the perfect size for a restful couple of days between gigs, leave them be and actively block them out as time off.

Have you got your time off booked in?

#Welfare #BurnoutIsNotCool #Rest

NEWS IN BRIEF

Protect UK has published an update on what the Competent Persons Scheme might look like in terms of Protect Duty.

The United Kingdom Crowd Management Association (UKCMA) has published a report into crowd behaviours. Furthermore, Eric Stuart, chair of UKCMA, has announced his retirement. Anne Marie Chebib is the new chair, effective April 2.

The Association of Festival Organisers (AFO) is to merge with the Association of Independent Festivals. On April 2, the AFO will cease to exist.

Chorus

Pitch and win

Looking for new business? Read on and discover the latest event tenders up for grabs and details of contract wins…

BCP Council is seeking bids from suppliers to operate either bar/ hospitality services at Bournemouth Air Festival (August 29-31). This tender has been divided into five lots. The deadline for this tender is 2pm on April 2. Email procurement@bcpcouncil.gov.uk

Wakefield Council has issued a tender for event security and crowd management for The Hatchling event (August 23-25). The deadline is 2pm on April 10. Email jonathancarr@wakefield.gov.uk

The Royal Parks is conducting an early market engagement exercise before inviting qualified organisations to submit proposals for an event in Kensington Gardens. The event would run from 2025 to 2029. The deadline for this tender is 12am on November 1. Email sreboucas@royalparks.org.uk

VisitBlackpool is looking for an organisation to install, manage and maintain a free ice rink as part of the Christmas by the Sea event for the next three years. Interested? The deadline is 12pm on April 2. Email sarah.manderson@blackpool.gov.uk

Chesterfield Borough Council is looking for event security staff for several of its council-owned and operated venues. The deadline is 12pm on April 15. Email richard.williams@chesterfield.gov.uk

Ashford Borough Council is looking to procure the services of an outdoor carnival arts specialist. The deadline is 10am on April 15. Email stephanie.leonard@ashford.gov.uk

Brighton and Hove City Council is seeking to licence an area of land and requires an event operator to stage a Christmas community programme for three weeks. The deadline is 5pm on April 5. Email ian.baird@brighton-hove.gov.uk

Tower Hamlets is seeking an experienced outdoor production and events management company to support the Tower Hamlets arts, parks and events team with the delivery of council-organised events and to provide occasional support to other events that take place in the borough’s parks and open spaces. The deadline for this tender is 12pm on April 2. Email neil.ward@towerhamlets.gov.uk

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CHRISTMAS BY THE SEA Image: © VisitBlackpool

Tailored approach

Limerick met Downtown New York at the Royal Horticultural Halls when Paul Costelloe’s latest autumn/winter 24 collection took over the venue’s Lindley Hall

More than 300 media and fashion buyers descended on the Royal Horticultural Halls in February to check out Paul Costelloe’s new autumn/winter 24 collection at London Fashion Week (LFW). The 25-minute show was inspired by New York and the Irish-American designer’s life in the Big Apple during the 60’s and 70’s.

Costelloe is the longest-standing designer at LFW, which marked its 40th anniversary with 43 catwalk shows and 36 events.

Costelloe’s show comprised a 24-metre long and four-metre wide catwalk and a 13.5-metre x 4.5-metre backdrop, a large format print of an original painting of a street where Costelloe once lived, painted by Costelloe’s son William.

Show Bench, Crewsaders, and Pace Prestige Services provided event equipment and services to the fashion show. Congo Blue, a d&b solutions company, provided

technical and scenic production to the event, including staging, lighting, flooring, and backdrop installation.

Matt Edwards, account manager at Congo Blue, explained: “Our brief was to enhance and even out the natural light in the space. To fulfil that we used Sky Panels and ETC Lustrs coming from a front of house gantry to produce an even front light for photography.”

Congo Blue has worked with the fashion house for several years. Conversations for the autumn/winter 24 runway show began before Christmas with Chris Cleal, project manager at SFL, also a d&b solutions company, project managing the event.

“I love the venue,” Edwards continued. “It’s a beautiful building because of the pillars at the stage end, which nicely framed the artwork. I also liked how the venue and the scenic aspects worked together to make the show beautifully aesthetic.”

PAUL COSTELLOE FASHION SHOW

Image: © Jeff Oliver

Mane event

More than 250,000 racegoers enjoyed Cheltenham Festival 2024 but before the masses descended on the spa town, StandOut went behind the scenes during the build

There’s just one week to go until thousands of race fans walk through the gates of Cheltenham Racecourse when StandOut visits the famous track. A raft of event suppliers is busy putting the various finishing touches to the event’s hospitality structures whilst teams of event professionals are whizzing about the site putting up signage and jet-washing the concourse.

There’s a famous proverb that says it takes a village to raise a child. Well, in the events world, it takes an army of dedicated professionals – each with different talents – to deliver a memorable and respected event.

This year’s Cheltenham Festival is marking a massive milestone – 100 years of the Gold Cup. And at the helm is Gemma Steve, regional head of operations at The Jockey Club – Cheltenham. To those acquainted with the famous racecourse and The Jockey Club, Steve is the new David McKinnon, who spent 10 years at Cheltenham as regional head of ops before moving to Saudi Arabia to become chief racecourse and racing officer at The Jockey Club of Saudi Arabia.

Steve, previously regional buildings and maintenance manager at Cheltenham and before that regional head of operations at Newmarket, has been eyeing up this role for some time. “I was born and bred in Cheltenham,” explained Steve, on a sunny

day, perched in a hospitality chalet. “I went to school in Cheltenham and live not far away. I’ve been coming to the races since I was young. My parents would come to the festival, I would skip school and I always said, I never wanted to work at Cheltenham because it was where I’d come to have a party. But I just loved it and as you get older, your priorities change.

“COVID changed my perspective,” she added. “I had a young family and decided to move back. I was regional head of operations at Newmarket, so the role isn’t new, but this massive, iconic event is quite different.”

FANTASTIC TEAM

Indeed, Cheltenham Festival is a beast. More than 250,000 horse racing fans descend on the spa town every year for four days of jump racing. And 2024 is no different. As Steve and her “fantastic and young” team –Hannah Gates, operations manager, Steve Finch – regional build and facilities manager, and Jade Foyle – health, safety, and security manager – know.

They have been working alongside Paul “Digger” Barrett, director of PB Global Events, who is contracted by The Jockey Club to project manage the delivery of the festival’s tented village. Furthermore, it’s Steve’s first Cheltenham Festival as

regional head of operations as she has recently returned to the course following maternity leave.

“When I came back from maternity leave, a lot of the big decisions had been made,” Steve added. “So for me, it’s been about making smaller changes to interiors, creating new restaurants, like the Charter Party and Centenary Restaurants in M12 [the marquees are numbered].”

NEW CONCEPT

The Centenary Restaurant is just one new addition to Cheltenham Festival and has been specifically created to mark 100 years of the Gold Cup. Also at the 2024 sporting event is The Feed Room [M8], a new food court located in The Village and themed on a traditional stable feed room.

Tom Alldread, project director at GL events UK, has overseen the site build on behalf of the temporary infrastructure specialist.

He explained: “The Feed Room is a new concept for The Jockey Club. It’s somewhere for premium club ticket holders.”

The Feed Room is housed within two 15m x 40m structures, to make a 30m wide structure in total. But for 2025, the idea is to make The Feed Room into one large 30m structure.

“It’s a really good concept that was trialled in November [at Cheltenham’s November

Meeting],” continued Alldread. “It worked really well, the furniture offering looks really smart and the fit-out looks good too. The overall look and feel is cool and the feedback that was received in November for this area has been positive, so we replicated the space for Cheltenham Festival.”

PHASED DELIVERY

The addition of The Feed Room is not the only change to Cheltenham Festival this year. Hannah Simpkins, The Jockey Club’s group operations director, will sit alongside officers from Gloucestershire Constabulary at its headquarters, acting as Silver command. This is the first time that The Jockey Club’s Silver command has been located off-site but it’s a necessary move to ensure racegoers and residents are safe. Also new for 2024 are enhanced facilities at the festival’s helipad reception and the build schedule has had some attention too.

The festival’s infamous Guinness Village was built by Arena Structures in time for Cheltenham’s November Meeting. Usually, Arena would build the festival’s triple-deck hospitality facilities and then the Guinness Village. But factoring in the early delivery of the Guinness Village has allowed for a better phased delivery for the project, de-risking the build schedule.

In fact, it’s been such a success that it’s thought that the popular feature will be built ahead of the 2024 November Meeting too. The move has gone some way to alleviating time pressures at the back end of the build schedule.

TOM ALLDREAD ( he/him)

GEMMA STEVE ( she/her)

THE FEED ROOM

Impressive solutions for iconic events

GL

COMMERCIALLY VIABLE

Again, it’s not the only change being weighed up. The Jockey Club and GL events UK are in conversation about the M1 structure. At the November Meeting, M1 is a single-storey structure that is used by owners and trainers. Following the November Meeting, GL events UK take the structure down and replace it with a three-storey structure in preparation for Cheltenham Festival. “We’re trying to get away from the up, down, up, down,” explained Alldread. “M1 starts as a single deck for their first event and then gets used for every event. The ambition for the client is to have that structure as a triple-decker from the start of the season. What we’d normally do is take the single-deck down, take the kitchen out, the toilets, everything, and then build a scaffold base and put the triple on top. The Jockey Club want to build M1 as a triple deck from the start of the season. But to do that, you’ve got to draw the revenue in and make it commercially viable.”

Ideally, The Jockey Club would like to have owners’ and trainers’ hospitality facilities on the ground floor of the structure with a concept restaurant or restaurant spaces/ boxes on the middle and top floors. GL events UK is now working with Steve and her team to figure out the best move forward and bring some ideas to the table that would make this more expensive development work.

MORE OPPORTUNITIES

Steve confirmed that she is looking at several options with her team that would help them make more revenue. The structure’s close proximity to the racecourse’s parade ring and the atmosphere that it generates are

two things that The Jockey Club could use as selling points. But in the end, it all comes down to planning and preparation.

“The Jockey Club has done really well this year in making sure that plans have been agreed in good time,” Alldread continued. “Getting plans in place early gives everyone more time and helps everybody.

“Obviously, there will always be a few changes. But having a concept, agreeing on the concept, and sticking to a colour palette has helped so no one has to think of ideas on the hoof. No pun intended.

“To do that you need one person directing the vision and Gemma is that person. Gemma has that vision. She knows what she wants. As a supplier, we have to understand the market and what The Jockey Club want and transfer that vision into our structures to give them more opportunities to make revenue.”

SUPPLIERS LIST

Temporary structures – GL events UK, Arena, Mar-key Group, and Visions

Interior fit-out – WM Events, Design Difference and Detail

Shell scheme – Henson Franklyn

Security – Provide, Carlisle Support Services, and WH Management

Big screens – ADI

Water – MTD

Fencing – Hire and Storage

Radios – Roadphone NRB

Portable buildings – Wernick Events

Power – Power Logistics and Visions (helipad)

Toilets – AndyLoos and PTL (helipad)

Temperature control – Watkins Hire

HOSPITALITY AT CHELTENHAM FESTIVAL

HELEN WEBB ( she/her)

All images: © Glenn Stanely/Your Digital Memories

In the vast multitude of outdoor events, airshows stand out as being a unique spectacle, captivating millions in the UK and around the world with aircraft displays and flypasts. Unlike many sporting, motoring racing or music events, the main action takes place in the sky which means wherever you are at the event you get a great view.

However, their existence faces a dual threat, despite being the third most attended live event in the UK, boasting 4.2 million visitors in 2023 according to a recent report from the British Air Displays Association. What is this threat? It’s the challenge of making airshows sustainable – both commercially and environmentally.

DIVERSE SECTOR

It may be tempting to dismiss airshows as entertainment, but the numbers, scale, societal value, and public enthusiasm for airshows are quite remarkable. They are run by a diverse mix of organisations, and this is one of the challenges. Some events are organised by enthusiastic volunteers who love aviation, and a few are run by larger commercial enterprises, usually with a charitable aim or partner.

Several airshows, such as Farnborough, Paris and Dubai, are now mainly tradeshows with no real public access. These are where aerospace and Defence come together to sell their latest aircraft or technology. There are also the seaside council-run airshows, which, it seems, are becoming increasingly difficult to justify, despite the clear economic benefits to an area. The Royal Air Force was previously a huge part of the airshow scene,

Gettoready soar

What outdoor events can learn from the airshow industry. Helen Webb, the former head of marketing at the Royal International Air Tattoo and now director of International Airshow Marketing, reveals all

Airshows

and

outdoor events need a strategic overhaul to secure their place as more than entertainment

and its airshows formed an important part of its public engagement and recruitment campaigns; however, the RAF Cosford Airshow is the only one that now remains.

PRICING STRATEGY

While football matches and horse racing reign supreme in attendance, with airshows as the third most attended, they often suffer from a lack of perceived value. Many are free to attend, or the ticket price is very low compared with other similar scaled events, and this, unfortunately, diminishes their perceived worth. Yet, beneath the surface lies an industry with significant additional costs compared to other outdoor events. This is mainly due to aircraft, aircrew attendance, fuel, and specific aviation insurance.

The historically free or low admission price is an area the events industry should

take note of. It has hit the airshow industry particularly hard.

It is not too late to start increasing prices, but this should be done incrementally and in small amounts each year. Also, no one buys a ticket just because prices have been “held” at previous levels, so be braver with your pricing strategy, within reason. Additionally, a wide range of different hospitality options should be made available, starting with low price/high volume, through to a smaller number, but no less profitable, very high value, exclusive packages.

This is what was implemented several years ago at the Royal International Air Tattoo, as well as dynamic pricing (like airlines, based on demand) and it has meant the organisation is in a much better place to weather the increased costs of putting on the event.

BRIDGING THE GAP

Increased costs are not only an issue for airshows. Growing numbers of festivals are being postponed or scrapped this year. So, what business model will ensure the survival of outdoor events?

Ticket and hospitality sales alone will no longer cut it, so commercial sponsorship is now essential. Ideally, a 50/50 income split will support the ongoing cost increases as well as deliver for sponsors in terms of the package they require in return.

These types of options, opportunities, and implications will become clear as part of a strategic review. But when was the last time your event carried out a strategic review?

In a rapidly changing world, conducting regular reviews is essential to identify future trends and growth opportunities. Maybe not every year but organisations, including airshows, need to reassess their position, purpose, and relevance in the evolving commercial and environmental landscape. To attract long-term sponsorship, commercial supporters need to see a real benefit that aligns with their values.

Keeping up with these changes may require a shift in focus to ensure engagement with the right audience through the right channels. This struggle to find value and relevance isn’t unique to airshows alone although the industry is definitely at a pivot point.

From the airshow perspective, understanding generational shifts is vital, as it is for the survival of any industry. For airshows, bridging the gap between diverse generations is crucial for sustained growth, particularly as the traditional audience of Baby Boomers and Generation X is ageing. These generations had more direct links and an affiliation to events.

They are steadily being replaced by Generation Z and Generation Alpha, who demand more inclusivity, authenticity, and

sustainability. They require the airshow industry to align with their values and perception of the world. This presents a huge challenge for airshow organisers but also a tremendous opportunity to reshape the narrative.

PERCEPTION

As with many events addressing environmental concerns head-on is key. However, airshows have an additional perception problem – “that aviation is bad for the planet”. The contribution from airshows is actually very small. According to a recent study by MyClimate for Airpower in Austria, the carbon footprint of flying displays was just two per cent whilst mobility (travelling to and from the event) was circa 40 per cent.

But perception is everything. In 2023, the organiser of Sunderland Airshow cited sustainability and environmental impact as its reasons for cancelling.

And how should we address this? The airshow industry must position itself as a multi-million-pound marketing and recruitment campaign for the aviation and aerospace sector. The skills gap in aviation, and the need for commercial sponsorship coupled with the values of Generation Z and Alpha, makes this a no-brainer.

How can other events create wider opportunities for themselves and learn from the challenges facing airshows, which are common to all outdoor events? In a world where change is inevitable, understanding the evolving customer landscape and adapting to it is key.

Although airshows are often underestimated, for many years they have been the inspiration for future aviators, scientists, and engineers, but there is only anecdotal evidence to support this. The real challenge lies in proving the importance of airshows as a gateway to science, technology, engineering, and maths (STEM) careers, as well as opportunities in aviation, aerospace, and Defence.

Airshows and outdoor events need a strategic overhaul to secure their place as more than entertainment. Airshows can redefine themselves as crucial players in the aviation and aerospace industry by understanding and adapting to generational shifts, engaging the next generation, embracing sustainability, and seizing opportunities in innovation and collaboration.

The airshow and outdoor event industry can then not only survive but thrive in our dynamic and ever-changing world.

GThe perfect host

Have you considered hosting your event in Glasgow? Glasgow Life discusses why live event organisers should embrace the Scottish city

lasgow set out to be an innovative, capable host for major events a generation ago, building new infrastructure and capability to develop an ecosystem that supports major one-off events, annual cultural gatherings, and a year-round programme of concerts and sport.

They share the same resources and infrastructure and builds skills, relationships and links that the world’s event owners call on almost every day.

Glasgow’s achievements in hosting events over the last generation have redefined how the world views us.

From the Garden Festival in 1988 and City of Culture in 1990 to the Champions League Final in 2002, to the opening of the Hydro in 2013, the incredible 2014 Commonwealth Games, the World Gymnastics Championships in 2015, the European Championships it shared with Berlin in 2018, COP 26, EURO 2020 matches, the UCI Cycling World Championships in 2023, and this year the World Athletics Indoor Championships, there’s no doubt that Glasgow works alongside event owners to deliver truly memorable occasions.

Live events bring our heroes to our doorsteps. They also bring people to the city who build visits that go beyond Glasgow, taking them to the rest of the country, and supporting jobs in culture, tourism and the retail sector across Scotland.

The relationship between host city, the event owner and Scotland’s cultural, physical and economic health has always been understood and embraced by Glasgow.

We view major events as strategic tools for placemaking and destination marketing. As a

smaller city, we have had tremendous success nurturing large-scale occasions to create a vibrant and welcoming identity and a sense of place where people want to live, work, play, do business and learn.

Over the years, we have reaped huge rewards. For example, according to Time Out (2022), Glasgow is in the top five city breaks in the world.

Major events are an immensely powerful way of bringing diverse communities together. They inspire passion, engagement, and identity like few other things. They change people’s lives.

Glasgow wants to continue to deliver successful major events, so we now create occasions that have the power to change every person’s life, regardless of age, ability, or income. We have already made a genuine effort to improve the accessibility of events hosted in the city.

Each decision to bid for an event in Glasgow rests in the local. It rests in the city’s dedication to ensuring the people of

Glasgow get the opportunity to engage with the event and benefit long-term from enhanced opportunities for physical activity, health, wellbeing, volunteering and wider participation.

Post the 2023 UCI Cycling World Championships, we can demonstrate the event provided valuable stimulus in strengthening a move towards active travel and increased physical activity, and generated tangible, social benefits.

We want to attract events that connect, engage with, and leave positive impacts for our communities in a way that is sustainable long term, and leads to a lasting and positive behavioural change.

By working with local community organisations, charities and event partners, the goal remains to inspire a new sustainable approach, taking on board their needs, and breaking down barriers to participation.

If you would like more information about hosting events in Glasgow, please email glasgowevents@glasgowlife.org.uk

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Identity crisis?

How hard is it to run a successful festival? Festival promoters and directors discuss the business of festivals – the challenges, the importance of identity, and making culture accessible

In the last two weeks, another five festivals have sadly announced their cancellation. Connect, Bingley Weekender, Nibley Festival, 110 Above Festival and Spring Classic have added their names to a growing list of events that have pressed pause on their 2024 operations.

In recent months, Barn on the Farm, NASS, Neighbourhood Weekender, Splendour, Bluedot, and Standon Calling have all taken to socials, citing a myriad of reasons for not going ahead. From challenging climates and the cost of living crisis to rising production costs and artist availability, the pressures facing festival promoters are real.

Oliver Jones, director of Deer Shed, says that promoters are facing four challenges.

“First is the cost of living,” he explains. “The UK is poorer than in previous years, perhaps permanently. Suddenly festivals have become a luxury that fewer folks can afford and consequently, many events will not survive. Next up, the weather. It has always had the potential to stop a festival dead in

its tracks and it’s hard to see this improving anytime soon. Thirdly, let’s call it corporate festival consolidation. Independent festivals are under threat from exclusivities (and the subsequent fuelling of unrealistic artist fees.) The public is largely unaware of who owns the festivals that they attend. Some wings need to be clipped.

“Finally, we have seen some of our major contractors not be able to fulfil their usual commitments this year. I don’t know whether we are being gazumped or whether it is just circumstantial. It can initially be unsettling working with new suppliers, and I have enough to fret about as it is.”

IDENTITY

The last few years have seen Deer Shed look hard at budgets. According to Jones, the festival has shed some weight and now, in its trimmed state, it is seeing results following its decision to bring marketing back in-house and increase spend on social media advertising.

Thankfully, for Jones and his team, the hard work has paid off and ticket sales are up by 30 per cent. “It is of course hard to pinpoint exactly why this year is improving, but we have a really great music line-up which has no doubt helped a bit,” he adds.

Anton Lockwood, director of live at DHP Family [Dot to Dot, Bearded Theory, and The Great Escape Festival], concurs with Jones. He says that no one would dispute the challenging environment staring everyone in the face and that even Live Nation might say that rising costs are an issue. But the biggest issue for him is artists; events are being cancelled because independent promoters can’t secure artists and that is partially down to larger promoters being able to offer bands bigger deals because of multiple gigs and festival appearances.

You can sense Lockwood’s frustrations as he discusses the topic of exclusivity deals, clients that are too slow to make decisions on budgets and a lack of reasonably priced headline acts and bands. That said, he says that one of Bearded Theory’s headline acts for 2025 is confirmed.

“We’re really happy with Bearded Theory’s direction of travel,” Lockwood explains. “Sales are solid and that’s because we have an identity.

“If you’re a promoter with a festival that is in that 15,000 to 20,000 capacity range,

you need a clear identity of who you are and who it’s for. If you don’t know who you are, then how can an audience tell if it’s for them?

“We [Bearded Theory] see ourselves as an alternative festival. No disrespect to Melvin Benn [MD of Festival Republic] and what he’s done to Reading and Leeds, but they are now mainstream festivals.

“We have a tradition of being progressive,” he adds. “This year, our ticket prices will have to go up and take up on our payment plans is strong but that goes back to identity. If your audience knows who you are, they will be prepared to pay.”

ACCESS TO CULTURE

Goc O’Callaghan, co-founder and director of ArcTanGent, says that the festival’s “avantgarde line-up with unorthodox artistry” means it is uniquely positioned in the festival market. Likewise, Joe Barnett, director of We Out Here, believes that his festival has a strong enough identity that he doesn’t need to enter conversations around distance / exclusivity. He explains: “The biggest thing I have taken from the economic challenge is that there is still a demographic who value attending festivals and can afford to, but now they only attend one or two. That’s the biggest threat to independent events from a spend point of view. Therefore, you have to ensure that what you’re offering is good value.”

He continues: “But another challenge is around an entire demographic that was on the brink of being able to afford one festival. They are now priced out and that raises questions over accessibility to culture.”

Barnett says that We Out Here has a large audience that can afford to attend the festival and a large audience that can’t. The reality is that production costs for the show have risen by 30 per cent and some of that cost has to be passed on to the customer. Despite donating a percentage of tickets to social enterprises, as cost pressures bite, Barnett argues that balancing the books against giving away free tickets is getting trickier.

UPHILL BATTLE

Paul Duhaney, artistic director of Africa Oyé Festival, is facing an uphill battle to keep the event free and open to all. “We’re having to work harder,” he says. “We get some funding from Arts Council England and some from Liverpool City Council but there are only a certain amount of traders and bars so our earning capacity is limited.

“This is the people’s festival and the whole dynamic of the event would change if we had to start charging. We’ll fight for as long as we can to make sure that doesn’t happen. We’re currently looking at private sponsorship to cover the rising costs and have had to make a conscious decision to try and get sponsors on board. But this is hard. Our festival is not ticketed or fenced and sponsors want data so we’re not at the top of a brand’s list but we also know that there are brands out there who want to support diverse organisations.”

He continues: “Normally, if a festival is free, the artist quality doesn’t reflect the ‘price’ but our line-up is amazing. However, production costs are probably £60,000 to £70,000 more than normal so how do you legislate that for a free festival? The irony is that 2023 was so successful for self-generated income but

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we don’t have time to bask in the glory. We have to come up with an alternative way of funding the festival and making money.”

SURVIVAL

Both O’Callaghan and Barnett are supportive of the Association of Independent Festivals (AIF) “Five Percent for Festivals” campaign, which is asking the UK Government to lower VAT on festival ticket sales from 20 per cent to five per cent for three years.

O’Callaghan says that the reduction would have a significant impact. Barnett concurs. “I organise events in Croatia and pay five per cent VAT and I organise festivals in the UK and pay 20 per cent. That difference is the difference in us as a collective, surviving.”

Rich Dyer, director of Highest Point, respects the AIF’s campaign and says that the industry would be “daft” not to get behind it. “I hope the Government does lower VAT because it would be great for our summer. Independent festivals could remain independent, which is important as they are such a vibrant part of our British calendar.”

SWEET SPOT

Dyer’s Highest Point festival will take place over two days this year and not three.

A “diary mishap” regarding one of the festival’s headliners has resulted in one artist pulling out from appearing at the event. Dyer describes the talent pool as small, and that going up against Live Nation and Superstruct is one of the many challenges facing independents that don’t have the advantage of group booking power.

Highest Point has raised its ticket prices but Parklife and Fly Open Air have reduced theirs.

Sam Joss, festivals director at Watchtower Group, and organiser of Fly Open Air, explains: “We’ve given our audience the

option to pay with a payment plan for three years. But this year, we have actually dropped our prices by 15 per cent across the board. Everyone is finding tickets hard to shift so we’re hoping that by dropping 15 per cent, we’ll sell more. And so far, so good.”

Watchtower’s decision to reduce ticket prices has coincided with another choice – to proceed in a slightly different direction with Fly Open Air which takes place in May.

Previously the May edition of the biannual event took place at Hopetoun House, Edinburgh. This May, it moves to a new indoor venue in Edinburgh with capacity for 4,500 people, down from Hopetoun’s 8,000 capacity. Alive Sound and MX Medical – two of Watchtower’s preferred suppliers – will provide event equipment/services to the event. Joss continues: “We have turned our May event into a two-day hybrid indoor/ outdoor event. One day is the Fly brand and the other is Boiler Room Scotland, which we are producing for Boiler Room.

“Boiler Room has always had a stage at Fly, but it was so popular that it needs its own day. Now, we’re moving into a venue that has great public transport, so we’ve gone from running an 8,000 cap, traditional green field festival site and moved to an indoor/outdoor venue which is half the cost and has existing infrastructure.”

Finding a venue with great links to public infrastructure has its advantages. At the recent Green Events and Innovations Conference, many organisers implied that now might be the time to design festivals that fit existing venues to reduce costs and the industry’s impact on the environment.

According to Lockwood, better facilities do come at a cost and so it’s important to create an event that a community understands. He concludes: “It is possible to produce great events but the sweet spot – the right artists and making a profit – well, that window to make it work is getting smaller than it used to be.”

PAUL DUHANEY ( he/him)

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ANTON LOCKWOOD ( he/him)

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Loving the journey

Frankie Astle is a freelance event professional who loves being an operations manager. Here, she talks about staying calm, imposter syndrome, and why nothing beats a good event control room

W hat attracted you to the world of festival operations?

I think like most people in the industry; it’s just what I fell into. I first started in artist liaison, touring and site. It was only when I joined Tramlines and worked under Timm Cleasby that I was introduced to the world of operations. Operations feel like the nuts and bolts of the event; it’s the processes and the systems that join everything together. Operations is what makes for a seamless guest experience, it’s what makes everyone safe and it’s what makes sure the worst never happens. Since being mentored by Timm, operations has always felt like my comfort zone. It’s logical, it’s detailed, and it often requires someone calm and diplomatic – those are always characteristics I like to think I have.

As operations manager, you get involved in traffic management, event control, venue liaison, the list goes on… Is there a particular aspect that you love the most and you’re a real geek about?

Event control is the heart of the event, keeping all the organs/areas functioning. I’m a sucker for process and systems. There is nothing more satisfying than nailing a good event control setup; a rock star event controller, killer incident management software, a room layout that allows for dynamic communication and decision making, perfecting the CCTV locations and having a really intuitive radio fleet map. On Tramlines, I think this is something we execute really well. We use Chronosoft as our incident management system and Chrissie Gilbert is our event controller. Watching her work is like watching a conductor lead an orchestra, it’s harmonious and magical even in the most tense situations.

As an ops pro, you lead some big teams and work on respected events. What would you say your leadership style is like and how do you get the most out of your team?

I’m still very young and most of the people in the teams I manage are older than me, so the idea of analysing my leadership style feels a little strange. I’m definitely still battling imposter syndrome. I am ever grateful I get to work under Timm and James [Method Event’s James Dutton] on Tramlines, both have always been the most kind and caring of line managers. I have always felt very safe in their team, and this is where I have found

the confidence to grow and develop as an operations manager. As much as I am still developing as a lead, I’d like to think my team feel I treat them with compassion and respect, no question is ever too small, and no mistake is ever a problem that can’t be solved. Events can be high-pressure enough, without having someone shout and scream at you over the simplest of errors.

The industry isn’t always kind, you never know what a person’s last job was like and you never know what is going on in someone’s personal life. When someone isn’t meeting a deadline or the work they’re producing isn’t up to the standard expected, I think often people assume they are not capable, or they are lazy. But if you give that person some time, it often means you can work with them to figure out if anything is holding them back.

Looking ahead to Tramlines, what does a typical day look like for you right now?

I’m currently on site for another project, but the Tramlines team at Method are full steam ahead with the planning and procurement, ready for a kick-off meeting when I’m back in the UK later this month. I lead on resourcing, CCTV and networking, radio comms, venue liaison, volunteer management, catering, accreditation and crew logistics, and assist the team with the other deliverables and documents. I have been working on the show since 2018 and each year the team pulls apart the plans and looks at how we can make improvements. It’s been great to help make incremental changes over the last five years and help grow the team steadily.

You have recently worked with People and Co on Al Hosn Festival and the Maritime Heritage Festival, Abu Dhabi. What lessons have you learned working on these cultural events and how are those learnings being implemented on your next UK show? Working in Abu Dhabi has been fundamental to my growth as a freelance event professional. Working on my current two projects has really developed my communication skills. I have had to reevaluate the way I explained plans and presented ideas. I had to change the way I held and presented myself for people to understand what I was trying to achieve and for them to put their trust in me.

I have also had to learn how to develop different types of working relationships. I think sometimes in the UK, when we’re on a job and

there’s a task at hand, we can almost be too laser-focused. We can walk into someone’s office on-site, say “How are you?” and then launch straight into the questions. Sometimes we’re almost robotic. In the Middle East, it’s different; it’s more about forming bonds and friendships. It’s about making the other person a coffee, spending 10 minutes asking them about their day and how they are, showing them you are human and then sitting together to figure out a solution or answer to the question together. It may take more time in the beginning but as you get closer to live days and to when you’re in a tricky moment, you find it’s those people you built relationships with that help save the day and have your back.

The second biggest learning is the evaluation and analysis of those practices that we never question because “it’s always been like that” or “every other event does it this way”. Sometimes one size doesn’t fit all, and questioning elements of plans is really important to identify where the weaknesses are. Events in the UAE are planned with meticulous detail, and every element of the audience’s journey is carefully considered. There is real value in taking the time to put yourself in different audience members’ shoes; it ends up creating events that have real magic to them.

In terms of your career, what’s your ultimate goal?

I have been asked this question a lot recently, and the answer is always the same. I’m still young and I’m still not sure what I want to be when I grow up. For now, I am loving the journey, I love my job, I love the events I get to work on and the people I get to work with. I love joining new teams and I love returning to familiar faces.

I only take jobs where I know the team is made up of lovely people and the event’s values are always kept at the heart of the project. So far, following these rules has led me to work on some pretty amazing projects in some amazing places.

I’d love to work on an event in every continent of the world and bring some incredible live experiences to those who wouldn’t often get the chance. Everyone deserves the chance to be in the middle of a crowd watching their favourite artist screaming their favourite song at the top of their lungs or to go to an event that celebrates their culture and who they are.

FRANKIE ASTLE ( she/her)

Image: © Oubai Muhna

The cost-of-living crisis and increasing infrastructure costs are welldocumented issues within the event industry. More and more festival organisers are increasing the price of a weekend ticket to meet escalating price increases whilst others (Parklife and Watchtower’s Fly) have dropped prices to be more inclusive and encourage more sales.

It’s clear that organisers are striving to make their events stand out, navigating challenges at every twist and turn. But what changes are organising and operations teams exactly making to their festivals to improve the experience for audiences, crew, and staff?

As well as making changes to its traffic management plans (turn to page 43), Kilimanjaro Live is working hard to maintain Belladrum festival’s atmosphere by making positive changes front-of-house and behind the scenes.

Zan Lawther, deputy event manager at Belladrum, explained: “Belladrum grew a little in 2023, and now has a capacity of 24,500 festivalgoers but we are not looking to increase the size of the festival any further. Last year we moved the main stage to the Hot House field, which is a natural sloping amphitheatre that allows a larger proportion of the festival to attend the major artists’ performances and opens up the festival, maximising the use of all the fields our partygoers love.

“At the forefront of our efforts with Belladrum is maintaining and enhancing the enchanting, family-friendly atmosphere. We feel that when festivals of this nature grow too big, they often lose some of their unique charm and historically, Belladrum has always been a place for the weird, the wonderful and the wow. We want to have the time, energy and funds to be able to continue that magic for our customers, especially as Belladrum celebrates its 20th year this year.”

She continued: “We are, however, making some positive changes both behind the scenes and out and about in the festival. Working

BOARDMASTERS

alongside our new waste contractors [Stewarts Staffing and BIFFA], the Belladrum audience will see an increase in recycling opportunities around the site as we initiate our new waste management plan and a focus on sustainability in our educational offerings. Back of house, we’re working with the Our Crew team to drag our accreditation system into this century and streamline the time-consuming process for all staff, contractors, traders and artists.”

IMPROVEMENTS

Following a sell-out event in 2023, this year’s edition of The Long Road will see a 25 per cent growth in its daily capacity, with the event footprint expanding for the fifth consecutive year.

Alex Beattie, festival operations manager at The Long Road, explained: “Whilst playing a part in the continued growth of Country and Americana music in the UK, our ethos

BELLADRAUM

BELLADRUM

has always been to create an authentic and immersive experience which has been key to developing our weekend camping audience.

“Working in close partnership with Go For, our long-term site management partner, and the team at the Stanford Hall Estate, we are developing new areas of our Leicestershire home to allow The Long Road to meet demand, whilst maintaining a unique and intimate customer experience.”

Beattie continued: “Pontoon and Dock will be facilitating new walking routes across the River Avon, while Tracsis will be supporting the development of new ingress routes to enable a confident year-on-year growth of our motorhome and pitch and park campsites – a firm favourite with our audience.”

The Long Road’s organising team has seen a huge demand for live-in vehicles, as has We Out Here festival, which moved to a new site in Dorset in 2023.

Joe Barnett, We Out Here festival director, is expanding capacity at the site to 20,000 from 17,999. “We are confident that we will reach 20,000,” Barnett said. “But we need to sustainably grow, respecting the local environment and laying foundations in our new home to be their long term.”

He added: “We’re seeing a growth in our local audience and seeing a trend of more families. We’re not a family-friendly festival but we are set up to welcome families and feel that more and more parents are more comfortable recommending us to families. But the impact of families on site is massive because everyone under the age of 15 can come to our festival for free.”

For 2024, Barnett – alongside Organise Chaos’ Clare Goodchild and Tom Wilkinson – has pledged to improve the festival by focusing on five specific areas, including enhancing on-site sanitation, introducing PEEQUAL, introducing a dedicated public Internet café in the festival arena, boosting train station shuttle buses by 50 per cent during peak arrival times, separating the family campsite from general and boutique camping areas, and developing consistent sound quality across all festival stages.

LICENCE REVIEW

There are changes at Boardmasters too. Cornwall Council has approved a licence application submitted by BM Management to increase capacity at Boardmasters. The festival will expand to a new, total capacity of 58,000 (previously 53,000) this August. A decision was made at a licensing committee hearing in Cornwall. The application seeks significant increases in capacity over the next three years. Up to 65,000 capacity in 2025 and 66,000 in 2026, inclusive of staff and performers.

Sheffield City Council has also given Tramlines Festival the green light to continue taking place at Hillsborough Park. The citybased music festival – owned by Superstruct and delivered by Method Events – has taken place in Hillsborough Park since 2018, when the initial licence was granted. In 2023, heavy rain turned the park into a mud bath and the festival faced criticism from local residents.

TRAMLINES

THE

Following a comprehensive review of the licence agreement at a council committee meeting, the organisers have agreed to a fee schedule, which will help protect the park from damage. As part of the agreement, £10,000 of the annual fee for Tramlines will be used to improve, replace, or install facilities to advance the park. At the meeting, it was stressed that this money should be used to make improvements and not for routine

maintenance, so park users can see the benefits of holding the festival in the park.

But it’s not the only Tramlines development to be revealed this month. At the Association of Independent Festival’s (AIF) Festival Congress, it was revealed that Tramlines has been chosen to host a fully funded Safe Hub during its 2024 edition, thanks to a partnership between the AIF, Music Support, and The Christopher Meredith Foundation.

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The Safe Hub, serves as a backstage sanctuary at music festivals, addressing the unique demands that often arise in the highpressure festival environment. The idea is to offer a confidential and supportive space for artists and crew to discuss concerns with fully trained staff or volunteers, covering areas such as mental health, first aid, addiction and recovery awareness, and self-care.

DEVELOPMENTS

Again, it’s not the only festival to reveal a raft of operational developments. Love Saves The Day, organised by Team Love, has set some goals for the 2024 event, including a focus on in-creasing food sustainability credentials with food traders, and incorporating more theatrical elements to waste initiatives to improve engagement – it wishes to increase the recycling rate by seven per cent. Other goals include running a work placement scheme for young people and continuing to keep the event as affordable as possible whilst continuing to offer a high-quality show. Jai Wall, operations manager at Wannasee, organiser of Wannasee Festival in Penrith

and Hertfordshire, Stone Valley Festivals, and Northern Kin Festival, Durham, understands the pressures facing organisers and says that one of the biggest takeaways from 2023 was meeting customer expectations.

Wall said: “With the current economic situation, more people are looking for things to do that they see as value for money. We discovered many customers in 2023 who had simply never been to a festival before.”

Wall continued: “We also learned that we need to up our game when it comes to accessibility. Before 2023, we had three lucky years, when it came to the weather. But the constant downpours in 2023 made accessibility a real issue and our resources were pushed. We always have a contingency plan for bad weather, and they were put into full force to ensure no one was left behind, but we can always do better and that is our plan for 2024, wet or dry.”

At Wannasee’s Northern Kin Festival, Wall and his team are making it a priority to become a more accessible festival. As a result, it is having to increase prices to cover costs. “We have always operated a good working site, but

we need to be on top of our game this year and showcase the differences we can make to move the business forward,” Wall added. “Our senior management team is a much more fixed entity, which will allow us to run and manage the build and breaks in line with new Purple Guide updates.

“Plus, we have a new site for our Northern Kin Festival and Stone Valley North. The challenges to get this operational before the beginning of the site set-up are interesting. It will take a few years of bedding in before it becomes the perfect festival site, but it is a perfect location to host a growing brand.”

This year, Wall is working with a plethora of suppliers on his events, including Complete Event Safety, A&J Big Tops, and Grundon Waste Management.

Wall concluded: “We have more than 60 suppliers per event, and we have had to be very strict with budgets and offerings this year, which has taken a lot longer than I would have liked. This year is all about building on our foundations for what is to come. Ensuring the company can grow on solid foundations as we add to our growing list of UK festivals.”

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Keeping you in the loop

Is a cashless system still relevant in a contactless world? Event payment technology experts discuss market trends, and how cashless can enhance the customer experience

When the organiser of Standon Calling announced that the festival was being postponed until 2025, it did not come as a surprise. Like many other festival organisers, the organising team stated that the costs of running Standon Calling had increased and it was left with no choice but to postpone.

Yet, just days before the plug was pulled on the three-day festival, the BBC reported that several food vendors and artists, who traded and performed at the 2023 event, were still owed monies. Alex Trenchard, founder of Standon Calling, apologised when he spoke with the BBC, and confirmed that he and his team were in the process of making the delayed payments.

In 2023, Standon Calling operated as a cashless festival and since the BBC story came to light, traders are now questioning whether there is a need for traders’ takings to be ringfenced and protected.

Cashless providers are keen to state that just days after an event has taken place, monies are released. Then, it is the organiser’s responsibility to distribute funds.

Weezevent has provided Standon Calling’s cashless solution for many years. Kyle Blythe, UK manager for Weezevent, stated that the company provides organisers with event payment technology and tools that enhance a festivalgoer’s experience, but the rules are decided by the promoter and responsibilities reside with the organiser.

Scott Witters, co-founder of Glownet.com, comments: “With digital wallets, there’s no

need for a promoter to hold any funds from trader sales. As soon as a customer makes a purchase, we can split the transaction amount in any number of ways. For example, if a customer spends £10 and the promoter’s commission is 20 per cent that amount is applied directly to the promoter’s digital wallet and the remaining £8 directly to the trader’s – with no need for a middleman or waiting for settlement. Each party is in total control of their own funds. This entire process happens superfast – we’re talking seconds!”

CLOSED OR OPEN?

Digital wallets, mobile wallets, cashless, contactless. The world of event payment technology can be confusing. So what is the difference between cashless and contactless? A contactless payment uses RFID technology or near-field communication. For example, RFID tech can be found in a wristband, but if you use Apple Pay that is also an example of a contactless payment. Essentially, you tap and go. Cashless payments are different but basically, they mean any kind of payment made without using cash. For instance, a bank transfer/payment using a digital wallet. According to Tappit, which has produced a cashless payments guide, there are important considerations that organisers need to mull over. Contactless payments are processed through an open-loop system and are typically processed by a bank. Cashless payments [RFID] differ; they are referred to as

a “closed loop system”. Closed loop payments allow festivalgoers to pre-load funds into an account that is then linked to a payment device such as an RFID wristband or card.

QUICK TRANSACTIONS

From fully cashless solutions with RFID wristbands to open-loop software and PDQ machines, Weezevent has a “suite of applications” to suit a variety of organisers’ needs. For example, it provides Boomtown with its cashless solution – a full-blown closed-loop RFID wristband system with top-up banks for festivalgoers who prefer to be assisted when topping up their RFID wristband. In contrast, it also works with ValleyFest, which will use an open-loop system this August, taking contactless payments via PDQ machines.

“The term cashless is a blurred one,” Witters continues. “It’s difficult because for years promoters have been sold cashless as an exclusively RFID prepaid solution – which isn’t the case today. When we talk about cashless, we’re always referring to a hybrid solution which encompasses transactions via contactless cards, mobile wallets (such as Apple/Google Pay) and RFID prepaid, all delivered via one central digital wallet.”

Glownet.com recently partnered with Tapaygo, the cashless and contactless payment provider. Its systems will be bolstered by Glownet.com’s plugins, enabling eventgoers to make quick transactions using RFID wristbands or mobile

Image: © Marticbech

devices in a “unique” hybrid solution. “Digital wallets are the key talking point here,” Witters adds. “Yes, they can hold tickets and prepaid balance, but they also can be linked to a myriad of payment gateways that enable eventgoers to pay their bill in its entirety post-engagement, or after every transaction – via their preferred payment method.”

BETTER CUSTOMER EXPERIENCE

New consumer spend data from Barclays revealed that 2023 was a record-breaking year for “touch and pay” and the use of mobile wallets is gaining ground. In addition, Juniper Research predicts that global spend using QR code payments will reach more than $3 trillion by 2025 because of its speed and convenience.

NOQ, the event point of sale (POS) specialist, believes in the power of the QR code. It has developed a mobile ordering system for food and drinks at events so that eventgoers can spend less time queuing and more time enjoying the moment. The mobile ordering system can be accessed by using a downloadable app or a web application that is powered by scanning a QR code.

Solutions like NOQ’s mobile POS solution [which enables terminals to be moved to where queues are located] are advantageous for anyone with trader management in their remit where pricing consistency and visibility are key. According to NOQ, most people will say that the biggest pain point of being at a festival is standing in queues.

Therefore, as people become more aware of the technology available to combat queues, they will expect more from organisers and a better customer experience.

Blythe and Witters concur. Witters says that promoters are looking for opportunities to personalise a user journey and Blythe hails cashless because it enables “people to maintain an in-world experience”. For example, Boomtown introduced Weezevent’s cashless system in 2022 and since its introduction, the system has worked well. But imagine if you were at Boomtown and you wanted a drink. Going to the bar and pulling out a Visa card would force a festivalgoer to break character and the immersive world that Boomtown is famed for would be diluted.

IS CASHLESS STILL RELEVANT?

For 2024, Weezevent and Boomtown are building on insight and increasing the number of flexible “moving banks” on-site. Essentially, these are “mobile banks” [people with roaming top-up facilities] that go to where the crowds are.

But Boomtown is not the only event to be cashless in 2024. BIC Pay, powered by Festipay, was recently introduced at the Bahrain Grand Prix, the Isle of Wight Festival has confirmed it will once again be cashless and Lakefest [cap 19,999] has verified that it will work with Fan Engagement Group, which uses a deferred authorisation system [so if the Internet goes down, the terminal can still take any money] again.

Event organisers, like ValleyFest, are recognising that festivalgoers want the convenience of paying for food and drinks with their cards through a mobile/digital wallet or card-only payments. So, is there much point in cashless when increasing numbers of people use their phone as a mobile wallet? Do we really need complex systems when everyone has a system in their hand that they are already familiar with? Are cashless systems still relevant? Especially when Barclays data says that 15 per cent of those aged 18-34 now say they prefer to order and pay for food and drink by scanning a QR code using their phone when the option is available.

Smart operators and event organisers are using tech to streamline processes. Blythe says that the benefits of cashless are obvious, but he doesn’t think that demand for cashless has hit its peak. RFID wristband options do have huge benefits, but they don’t work for everyone.

One size does not fit all. Witters concludes: “The current and future of event payment technology is all about granting choice. Customer choice of multiple payment methods. Choice and control of your data. The choice to personalise your event experience from your phone and whether you want to opt-in to score promotions. And not just customers. Promoters and vendors also have the choice today of many available merchant tools for quick settlement of their share of funds.”

LAKEFEST

Go with the flow

Last August, more than 180,000 fans descended on Southsea Common, Portsmouth, for three days of music, comedy, and family-themed entertainment.

Festivalgoers at Victorious benefited from an extended main arena but to create more space, the organising team had to move its car park and create a special park-and-ride facility. A comprehensive traffic management plan was required to facilitate the new developments; a task managed by Shola Hood, Victorious’ in-house traffic manager, and Tiffany Gaskell, Victorious’ head of operations and infrastructure.

Victorious’ new park-and-ride facility could hold 2,700 cars and a further 2,300 could be accommodated at the festival’s campsite. Victorious worked alongside Show and Event Traffic Solutions and Road Traffic Solutions, which has recently been acquired by BUKO Traffic and Safety. Both companies have been contracted to the festival in 2024 and are working with Hood and Gaskell to tweak the traffic management plans for this summer. These plans comprise the co-ordinated management of pick-up and drop-off routes, the park-and-ride, and Blue Badge parking.

Gaskell explained: “Our park-and-ride facilities take people to the main festival site and back, and then we also have buses that take people to and from the campsite.

“We have had a park-and-ride facility for a few years, but last year the operation was much bigger. We recognised that those leaving the festival and going back to the park-and-ride facility have to drive again to get home so we need to prioritise their buses, make their onward journey more efficient and give them a better customer experience, and that might be something simple, like providing water at the park-andride for their journey home.”

She continued: “This year, there will be a few minor changes to the traffic management plan for customers on the parkand-ride, such as changing the direction of

travel on the roundabout [on egress] so that cars can exit the park-and-ride quicker.”

But it’s not the only change. “We’ve also realised that all our traffic in the Blue Badge car park, the park-and-ride, and the pick-up and drop-off areas exit from the same route,” commented Hood. “So, this year, we’re changing the pick-up and drop-off route and moving to a one-way system, and we hope this will stop the stagnation of traffic.

“Our campsite buses exit out of the east of the city and everything else uses the west. But to make the changes we want, we will need some more signage and comms for those using the pick-up and drop-off areas.”

Sponsored

Organisers discuss their traffic and transport management plans for 2024

VICTORIOUS

Image: © Steve Stringer

RISE IN CAR TRAVEL

Last year, several event professionals cited traffic management issues at many events. Train strikes played a significant role, disrupting travel plans and pushing more eventgoers to use their cars. But despite the best efforts of organisers, who laid on buses to transport guests to transport hubs that were running [albeit reduced services], not all audiences paid attention to travel updates and comms. Similarly, some organisers were caught out by the number of ticketholders using taxis and Ubers, which in turn blocked roads and caused localised congestion.

“Traffic management seemed to be a key issue across many UK festivals in 2023 and Belladrum was no different,” explained Kilimanjaro Live’s Zan Lawther, deputy event manager at Belladrum. “Post-pandemic we have seen a huge rise in car travel to events, as well as a shift in audience attitudes to arriving well before advertised opening times.”

She continued: “For 2024’s event, we have done an enormous amount of work to ensure smooth entry and exit for our festival fans and all their camping gear.”

Kilimanjaro Live has contracted Tracsis to Belladrum, which has taken on the overall traffic management for the festival, assisted by Alba Traffic, whose local expertise will help with the management of external signage.

Lawther added: “We have devised a new ingress plan that involves re-routing internal traffic, new site entrances and new pick-up/ drop-off procedures, which will allow us to load the car parks much quicker and significantly reduce the build-up of traffic on local roads. We have also introduced a pre-issued public car parking sticker system

and our pre-event customer communications aim to educate all our ticketholders to the convenience of the shuttle bus network [provided by D&E Coaches] and the environmental benefits of car sharing.”

SAFE EVENT ROUTE

Last year was Stadium’s first year delivering hostile vehicle mitigation (HVM) and traffic management for the Wolverhampton City Council events team. On June 8, Stadium will once again be delivering traffic management services to Wolverhampton Pride, which consists of a parade and festival site for around 20,000 people.

Carl Taylor, managing director of Stadium, commented: “Last year, we delivered 107 metres of temporary hostile vehicle mitigation across six road closures. This year, it’s increasing to 140 metres across nine closures following some tweaks to the entrance and parade route. The difficulty here is closing the roads, building nine HVM arrays, managing the procession through, and reopening the roads simultaneously all in about two hours to reduce the impact on the city centre.”

Taylor continued: “Last year was all about safety and ensuring the closures were planned correctly. This year, we can relax a little knowing the event route is safe and correct and so can put more emphasis on customer service in the team, ensuring our vans have the Pride flag to show our support and allowing the organiser to brand the HVM allowing valuable revenue space which supports the look and feel of the event.”

CONSIDERED APPROACH

Wolverhampton Pride, Victorious, and

Belladrum are not the only organisers looking at their traffic management plans for 2024. Africa Oyé, which takes place in Liverpool’s Sefton Park, is implementing a major traffic management plan, which includes road closures, lots of HVM, and additional stewards to stop people parking on the grass. RHS Chelsea Flower Show is adopting a new traffic booking system, and Co-op Live and Transport for Greater Manchester (TfGM) have announced an initiative which will see travel on Metrolink and new city centre shuttle buses included in all arena event tickets from April 20 to June 30. This new approach to fan travel is considered to be more sustainable.

By offering all-zone travel on Metrolink, fans travelling to the arena will be able to make the most of one of Manchester’s many park and ride sites. Plus, trams will run every six minutes and a city centre shuttle bus service is being introduced too.

Commenting on the venue’s considered approach to traffic and transport plans, Gary Roden, general manager of Co-op Live, explained: “We are dedicated to ensuring easy and accessible transport links to and from Co-op Live and are delighted to be working with Transport for Greater Manchester to offer this inclusive service for our fans for opening season.

“Coupled with the planning application submitted for a new ‘CityLink’ walking route from the city centre to the Etihad Campus, we are further demonstrating our commitment to the environment by encouraging more sustainable transport choices, and providing additional neighbourfriendly options to support increased footfall across East Manchester.”

HVM AT WOLVERHAMPTON PRIDE

Stadiumdelivernationaleventtrafficmanagement solutionsandmajoreventcarparkingoperationsfrom footballtofield.Wehaveover1200nationalskilledstaff thatcansupportanysizeevent.

TWO-WAY RADIO

SALES AND SERVICE

A simple solution for those who need temporary communications. Two-way radio hire has proven to be invaluable for such sectors as; event specialists and organisers, council teams, TV and film crews, security, and parking, to name but a few, with both short and long term hire contracts available.

Organising any event or general on-site communication requires total dedicated support, and at DCRS, there is always a team on-call or on-site ready to assist you.

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Steelshield was introduced in 1991 for the Happy Mondays Concert in Heaton Park with a 1000m of fence installed. The stock now stands at over 40,000 metres with 170,000 metres of Steelshield erected in the 2023 season.

Products:

■ 2.25m, 2.4m, 2.85m, 3.0m and 3.3m high Steelshield fence panels, pinned or ballast.

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Respecting boundaries

Barrier and fencing experts discuss the upcoming event season, latest trends, best practices, and new products

We expect there will be many changes in requirements over the coming months as event organisers monitor ticket sales and refine budgets and requirements,” comments Liz Gillies, client services and marketing manager at Entertee, the fencing and barrier specialist.

Gillies is talking with StandOut about the upcoming event season and the challenges that event contractors are currently facing. Organisers are regularly advised to book equipment early but how is that possible when volatile market conditions mean the goalposts are constantly moving and requirements are changing?

Gillies is realistic in her view of the sector. She understands that flexibility and patience will be needed this event season as organisers battle with rising production costs and lower ticket sales. “There are always changes in site plans and we expect changes to be on-going as event organisers try and make their budget go further in a difficult financial climate,” Gillies adds.

PRICE AND SUSTAINABILITY

Victorious is one such festival that has its eye on pricing. This year, it has opted to switch fencing and barrier provider. Previously, Victorious has worked with GAP Group but now the familyfriendly festival has sourced its fencing and

barrier requirements from Events Crew and has saved £10,000 by doing so.

“It was so much cheaper,” explains Tiffany Gaskell, head of operations and infrastructure at Victorious. “Plus, Events Crew are closer to us so from a delivery and sustainability point of view, it’s great.”

Augusta Event Support, based in Warwickshire, is one of Coventry City Council’s preferred suppliers. Its proximity to Coventry’s War Memorial Park means it is also ideally placed to provide the local authority with fencing and barriers for Godiva Festival 2024. This is a new contract for the Augusta Event Support team, who will be supplying fencing and barriers to Boardmasters, Tramlines and Bearded Theory too. Again, Tramlines and Bearded Theory are new contract wins.

Mark Henton-Smith, chief operations officer at Augusta Event Support, says that with lots of new work in the pipeline, business is good, yet work is still concentrated across the season from April to September.

SUPPORTING CUSTOMERS

Boardmasters has a considerable fencing requirement – 25 kilometres of fencing – and American Express presents BST Hyde Park has extensive fencing needs too.

Entertee is providing fencing to BST Hyde Park, Bloodstock, Shambala, Gala Festival,

Radio 1 Big Weekend, and Kent County Show whilst Sunbelt Rentals is working with Festival Republic, Farnborough International Airshow, London Marathon, Ride London and The Great Run Company in 2024.

Mark Fisher, head of barriers and fencing at Sunbelt Rentals, explains: “In the current landscape of the events and festival marketplace, we remain positive and hopeful for the industry. Despite the challenges brought about by the pandemic, there is a prevailing sense of optimism that the industry is once again thriving and buoyant.

“However, it is important to recognise the financial constraints faced by our industry, company and customers at the moment,” Fisher adds. “The rising costs of logistics, staffing and inflation are a shared concern. That is why we are committed to supporting our customers with reasonable rates and longer-term, mutually beneficial contracts. By fostering these partnerships, we can work together to support the industry through the economic challenges and ensure the sustainability of the industry.”

NEW PRODUCTS

Fisher says that Sunbelt Rentals continues to foster relationships with key organisers to ensure “mutual success and ongoing collaboration”. He says that long-standing

SUNBELT RENTALS

partnerships are built on a foundation of trust, reliability, and a shared commitment to providing attendees with an exceptional and safe experience.

“I have seen several customers relocate to new sites and locations to enhance security for their attendees,” Fisher comments. “In these situations, we collaborate closely with them to assess and evaluate the site layout and develop a comprehensive plan for barriers and fencing solutions to effectively control the crowds and maintain security. Our top priority is to make sure that our clients mitigate any potential risks and create a safe environment for all attending.”

According to Fisher, Sunbelt Rentals has no immediate plans to introduce new products into the market but remains committed to product evaluation. When a suitable product becomes available, it will conduct thorough testing and analyse it to determine its suitability for the UK market. But other fencing and barrier specialists do have plans to enhance their portfolios.

Capital Barriers and Temporary Fencing has introduced the Concord barrier, a threemetre-wide steel barrier system. It has been a big hit with production companies at film premieres as its large frontal area is ideal for displaying assets and branding. Garry Wakefield, joint managing director at Capital Barriers and Temporary Fencing, says that he expects to increase the stock levels of the Concord barrier as more companies seek to use it. And it’s a similar story for Entertee and Augusta Event Support, which are both increasing stock of popular and existing product lines, including front of stage barrier.

Henton-Smith continues further: “We are always looking at the market for new products to enhance our offering, improve the delivery of our service and adapt to clients’ requirements.”

BOOK EARLY AND COLLABORATE

Like many other suppliers, Henton-Smith advises organisers to get the detailed planning in place as early as possible, and book early, whilst Fisher would like to see all event professionals – organisers, supply chain partners and security companies –prioritise collaboration and idea-sharing.

Fisher concludes: “Operating within this industry presents significant advantages. By leveraging in-house teams of experienced engineers who conduct thorough site surveys at the outset of event planning, bespoke solutions can be tailored for the events sector and a full range of products can be showcased. Early engagement in event organisation brings numerous benefits. It enables event organisers to collaborate closely with suppliers, ensuring the suitability of products for their intended purposes and facilitating effective coordination with other suppliers to ensure the event is outfitted safely and efficiently.

“Here at Sunbelt Rentals, we put this into action every day as we bring together multiple experts from across the business to support our customers in the events sector.”

Sponsored by Augusta Event Support

SUNBELT RENTALS

CAPITAL BARRIERS AND TEMPORARY FENCING

The right move

Day rates, imposter syndrome, and recognising your self-worth. Jo Dytch discusses life as an event freelancer and why freelancing is right for her, right now

I have always considered myself to be incredibly lucky when I landed on my feet in 2007 with my first “real” job at IMG. I was fresh from university and working on a snowboarding event during the ski season, and honestly wasn’t quite sure which career path to take. On returning to the UK, through a couple of chance conversations, and the fact I grew up in Perthshire, where IMG needed someone to do “local PR” for a new closed road mass participation cycling event, Etape Caledonia, I ended up with a job, and subsequently a move to London. I cut my teeth; and as anyone who has closed roads for events will know, it’s not for the faint-hearted!

Being outdoorsy, and never having lived in a big city until I moved to London, being able to blend part of my working life at a desk, and the other part – planning and delivering amazing events in some of the most beautiful parts of the UK – was a real dream come true!

I’m a natural organiser, so working in sports events not only suited my passions in life but also my personality. Since then, I’ve worked both operationally and commercially across mass participation and major sports events. I joined Tough Mudder as event director when the brand launched in the

UK and then spent seven years working for Cancer Research UK (CRUK) on the phenomenal Race for Life portfolio. Across all of these roles, I’ve worked with brilliant people who have coached me, put faith in me, given me autonomy and encouraged me to own up to mistakes and learn from them, and I’ve had some of the best mentors and colleagues in the business.

THE NUDGE I NEEDED

The thought of being my own boss has always had an allure for me, and after 13 years of a guaranteed salary, I tentatively dipped my toe into the world of freelance consulting in early 2020 (not the best timing!). I decided to go part-time from my role as part of the leadership team on CRUK’s events team and started to build up my freelance work. Then the pandemic came along. I was fortunate. I was asked to return to a full-time role building the innovation team at CRUK, which I did until early 2022.

Taking the plunge into working for myself began with a contract for the Rugby League World Cup, which was postponed in 2021, and delivered in 2022. It was a solid contract and something which allowed me financial security and regular income, while I built up my client base.

When I was considering the move, a good friend and ex-work colleague said to me that no one was going to approach me about freelance work, if I wasn’t freelance. Not rocket science, but definitely the simple and clear nudge that I needed. I had all the concerns about braving it on my own as many people reading will relate to. Not least having been employed by recognised brands in our industry. Yes, you have to know your stuff, but some of that does the talking for you and certainly opens doors. I also had a great work-life balance, stability and a superb team, but I had to scratch the itch! Since then I’ve had stable clients and am in the third year of delivering their events and feel fortunate to have new clients and have two major events under my belt moving into 2024.

MONEY TALK

One of the first challenges which arise when you work for yourself is deciding how much to charge. I’d employed consultants and freelancers in a variety of different roles, but it’s always a bit harder when it comes to deciding your own day rate or project fee. I am still learning here, and on a couple of occasions, I have underestimated how long a contract may take me. Even in full-time

JO DYTCH ( she/her)

employment, I was never great at talking about money, and championing a pay rise so it’s not something that comes naturally, but you have to address this if you work for yourself. Planning this conversation is always key, as well as recognising your own worth. Sure, all of us in the freelance boat have imposter syndrome at some point – could someone else be doing this better and why are they paying me? That’s natural and I try not to let it trip me up at the point of agreeing on contract terms.

CHOICES

I’ve been freelance for almost two years now, and I love it. It definitely comes with challenges, as does every job and it’s a choice I made. I’ve worked across all elements of events; operational delivery, commercial growth, portfolio development, team leadership and fundraising, and have now had freelance contracts across all of these areas. I was slightly nervous that I had to decide exactly which area I wanted to specialise in, and that time may come. For now, I have a broad base of clients in the commercial and third sector and am delivering everything from closed road cycling (yup, remember that event from 2007 I mentioned) through to Padel Tennis and supporting a brilliant organisation in recruiting their next leader.

I love the flexibility of working for myself; I really enjoy working under pressure and I get a huge buzz working with a variety of people and organisations. All of these reasons mean consulting is right for me, for now!

TOUGH MUDDER

RACE FOR LIFE

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Enhance your visibility

Last month, Swift MRP’s Adam Pike discussed the launch of EB Collective, an umbrella organisation comprised of five companies – the creatives behind Event Buyers Live. This month, we chat with Matt Coppard, director of Coppard Digital, one of those five organisations that want to help event businesses realise their full potential

Coppard Digital is one of five companies that comprise the Event Buyers Collective (EBC). What are your strengths and areas of expertise and how do they fit within EBC?

Coppard Digital is a creative agency, with a team of four multi-faceted individuals (and counting). Each of us brings a varied array of digital skills to the table, including website design, email marketing, brand identity, graphic design, social media, content creation and more. One of our strengths is building lasting relationships with clients, ultimately helping them to achieve long-term marketing goals and building compelling online presences through functional, purposeful design. We’re the ones that will connect your business with your audience.

Coppard Digital specialise in digital marketing. How important is having a digital presence in today’s market?

In today’s dynamic business landscape, digital marketing is a pivotal force, connecting businesses to a global audience without geographical constraints. Having a digital presence plays a crucial role in reaching new audiences and tailoring messages to specific demographics, a factor that could significantly boost the success of your business.

There’s a lot more to digital marketing than having a website. What other digital strategies should/could event professionals consider for their next project?

I think having a clear and simple digital strategy from the start is important but let’s

not overlook website optimisation, mobilefriendly, search engine optimised platforms with relevant content and copy, as this will be your base for many campaigns.

Social media engagement is a cornerstone for building anticipation and buzz, coupled with personalised email marketing to maintain relationships with your audience.

Content marketing, influencer partnerships and paid advertising (PPC) round out the digital toolkit. A well-crafted digital marketing strategy not only promotes events, services and products but also engages the audience, builds credibility, and lays the groundwork for future successes. Leveraging these digital channels effectively enables all professionals to enhance visibility, attract new clients, and establish authority within their chosen field and industry.

How will EBC differ from any other service provider in the events industry? What do you think is your USP?

Our USP is our people and experience. With more than 200 years’ worth of combined experience in not just the events industry, but also across our own respective industries. This is what allows us to provide a scope of services that can seamlessly take your event from concept to creation.

Who would your ideal client be?

Digital marketing is ever-changing. As technology and human habits change, we must evolve. Our ideal client has an open mind to this, ready to explore a wide range of

marketing strategies and content mediums. This open mind allows us to create truly memorable, creative marketing that really connects with a target audience.

What plans do you have for the future?

I’m looking forward to speaking with prospective clients and discussing how as a collective we can collaborate in delivering memorable projects and events.

MATT COPPARD ( he/him)

EVENT BUYERS COLLECTIVE AT EVENT BUYERS LIVE 2023

Images: © Aniseed Photo

CONNECTIONS

ACCESSIBILITY & INCLUSION

Eventwell

T: 0800 470 0958

E: bookings@eventwell.org

W: EventWell.org

ASSOCIATION

Event Hire Association  2450 Regents Court, The Crescent, Birmingham Business Park, Solihull, B37 7YE

T: 0121 380 4600

E: membership@eha.org.uk

W: www.eha.org.uk

AV, SOUND & LIGHTING

Event Production Services

The Pack House, Drayton St. Leonard, Oxford, OX10 7BG

T: 01844 278446

E: info@epsoxford.com

Press Red Rentals Limited

Unit H11, Halesfield 19, Telford, TF7 4QT

T: +44 (0) 1952 587049

W: www.pressred.biz

BALLOONS, BUNTING & FLAGS

B-Loony Ltd

Cape House, 105 Bellingdon Road, Chesham, Buckinghamshire, HP5 2HQ

T: 01494 774376

E: sales@b-loony.co.uk

W: www.b-loony.co.uk

BAR

Bar Live Events

Unit D215, Parkhall Studios, London, SE21 8DE

T: 0208 761 8424

E: nick@barlive.co.uk

W: www.barlive.co.uk

Cambridge Event Bars

T: 01223 785401

M: 07837 707057

E: Info@cambridgeeventbars.co.uk

W: www.cambridgeeventbars.co.uk

Pop-up-Pubs

T: +44(0)1993 832155

E: info@pop-up-pubs.com

W: www.pop-up-pubs.com

Symonds Event Bars

Drakewell, Stoke Lacy, Bromyard, Herefordshire, HR7 4HG

T: 01885 490267

E: info@eventbars.co.uk

W: www.eventbars.co.uk

BRAND ACTIVATION & EXPERIENTIAL

Instant Marquees

T: 01840 213063

www.instantmarquees.co.uk

BUGGY HIRE

Bradshaw Event Vehicles

New Lane, Stibbington, Peterborough, PE8 6LW

T: 01780 782621

E: enquiries@eventvehicles.co.uk

W: www.eventvehicles.co.uk

Twitter: @Bradshaw_EV

Electric Wheels Ltd

Units B & C Neaton Business Park, Watton, Norfolk, IP25 6JB

T: 0333 3582175

E: enquiries@electric-wheels.co.uk

W: www.electric-wheels.co.uk

CABINS

Event Buggy Hire

T: 0113 393 4100

E: brian@eventbuggyhire.co.uk

W: www.eventbuggyhire.co.uk

Hopkins Machinery

T: 01633 680754

E: hire@hopkinsmachinery.co.uk

W: www.hopkinsmachinery.co.uk

Qdos Event Hire Ltd

Fernside Place, 179 Queens Road, Weybridge, Surrey, KT13 0AH

T: 0845 862 0952

E: enquiries@qdoseventhire.co.uk

W: www.qdoseventhire.co.uk

Twitter: @QdosEventHire

Facebook:

www.facebook.com/pages/Qdos-Event-Hire/ Instagram: @qdoseventhire

Wernick Events

Joseph House, Northgate Way, Aldridge, Walsall, WS9 8ST

T: 01922 472 900

E: events@wernick.co.uk

W: www.wernick.co.uk/events

Twitter: @WernickEvents

Instagram: @WernickEvents

CAR PARKING

Event Traffic Control Limited

Baldersby Gardens, Ripon Road, Baldersby, Thirsk, North Yorkshire, YO7 4PS

T: 08000 246 800

E: info@eventtc.com

W: www.eventtc.com

Just Event Services

Unit 7 Broadway Green Farm, Lightwater, Surrey, GU18 5SU

T: 01276 590325

E: contactus@justeventservices.co.uk

W: www.justeventservices.co.uk

CARPENTRY SERVICES

Crewsaders Carpentry

T: 0345 094 4884

W: www.crewsaders.com

CLEANING & SUPPORT SERVICES

Falcon Cleaning

The Falcon Nest, Unit 10 & 11, Lower Gower Road, Royston SG8 5EA

E: admin@falconteam.co.uk

W: www.falconteam.co.uk

COFFEE BARS

Markey Ltd

39b Park Farm Ind Estate, Buntingford, Hertfordshire, SG9 9AZ

T: 01763 271110

E: info@markey.co.uk

W: www.markey.co.uk

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

BTN Crew LTD

T: 07780 621 860

E: info@btncrew.com

W: www.BTNCrew.com

www.facebook.com/BTNCREWltd/ www.instagram.com/btncrewltd/

Crewsaders Ltd

T: +44 (0)345 094 4884

W: www.crewsaders.com

Falcon Festival Services

The Falcon Nest, Unit 10 & 11, Lower Gower Road, Royston SG8 5EA

E: info@falconteam.co.uk

W: www.falconteam.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: jordan@optimalcrew.co.uk

W: https://optimalcrew.co.uk/

Sponsored by the Falcon Team

Site and Stage Ltd (SAS)

Festival and Event Crew Nationwide

T: 0207 205 2434

M:07770 521521

W: www.siteandstage.co.uk

Trojan Crewing Solutions Ltd

57 Eastbourne Avenue, Acton, London W3 6JS

T: 07341 922974

E: chris@trojancrew.com

W: www.TrojanCrew.com

DIGITAL PLANNING

Iventis

Think Tank, University of Lincoln, Ruston Way, Lincoln, LN6 7FL

T: 01522 837205

W: www.iventis.co.uk

E: info@iventis.co.uk

Eamon Kerrigan:

E: Eamon.kerrigan@iventis.co.uk

ENTERTAINMENT

Odin Events Ltd

Unit 1 RoundHouse Farm, Marston Meysey, SN6 6LL

T: 0800 030 6881

E: info@odinevents.com

W: www.odinevents.com

EQUIPMENT & INFRASTRUCTURE

Falcon Site Equipment

The Falcon Nest, Unit 10 & 11, Lower Gower Road, Royston SG8 5EA

E: admin@falconteam.co.uk

W: www.falconteam.co.uk

The Renegade Group

Unit 6a , Mostyn Road Business Park, Mostyn road, CH8 9DQ

T: 01244 631224

E: info@therenegadegroup.co.uk

W: www.therenegadegroup.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 CONTROL, RADIO & WI-FI SERVICES

Controlled Events

T: 0203 286 6392

E: info@controlledevents.com

W: www.controlledevents.com

First class Resilience, Readiness, Communication & Control for incidents or pre-planned events.

Halo Solutions Ltd

T: 0800 920 2014

W: www.halosolutions.com

E: hi@halosolutions.com

EVENT MANAGEMENT

2Can Productions

T: 029 20 100256

E: info@2canproductions.com

W: www.2canproductions.com

LFX Events

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

E: enquiries@lfxevents.co.uk

W: www.lfxevents.co.uk

Victorious Events

E: info@victoriousevents.co.uk

T: 07869 701 616

W: victoriousevents.co.uk

EVENT PLANNING

OnePlan Kemp House, 152-160 City Road, London EC1V 2NX

W: www.oneplanevents.com

E: hello@oneplanevents.com

E: sophie.mcallister@oneplanevents.com

EVENT PRODUCTION

Symphotech

Safety. Production. Noise Management  Claire Feeney

T: 0871 711 5264

E: claire@symphotech.co.uk

EVENT SAFETY

Eep Safety Team

Unit 42, Dunsfold Park, Guildford, Surrey, GU6 8TB

T: 01483 266486

E: tom@eepteam.com

W: www.eepsafety.com

LFX Safety

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

E: enquiries@lfxsafety.co.uk

W: www.lfxsafety.co.uk

Symphotech

Safety. Production. Noise Management  Claire Feeney

T: 0871 711 5264

E: claire@symphotech.co.uk

EVENT STAFF

The Occasionall Group: Festivall Staff | Occasionall Staff

The Circle, 33 Rockingham Lane, Sheffield S1 4FW

T: 01144 055 044

E: hello@theoccaionall.group

W: www.theoccasionall.group

Moorepeople Event Staffing Agency

1st & 2nd Floor, 169 A High Road, Loughton, Essex, IG10 4LF

T: 0208 508 0555

E: bettina@moorepeople.co.uk

W: www.moorepeople.co.uk

EVENT STAFFING SOFTWARE

uTRAC

24A Lower Abbey St, Dublin 1, Ireland

T: 0808 189 0334

E: hello@utraconline.com

W: www.utraconline.com

EXHIBITION TRAILERS & MOBILE UNITS

DWT Exhibitions

Trailer Hire, Sales & Management

Jubilee Park, Honeypot Lane, Colsterworth, Lincolnshire, NG33 5LZ

T: 01476 860833

E: pip@dwt-exhibitions.co.uk

W: www.dwt-exhibitions.co.uk

Inchmere Event Design Ltd

Swan Close Studios, Swan Close Road, Banbury, OX16 5TE

T: 01295 661000

E: alastair@inchmere.co.uk

W: www.inchmere.co.uk

TCM Trailers Ltd

FESTIVAL GAS

Watery Lane, Lichfield, Staffordshire, WS13 7SE

E: emily@tcmtrailers.co.uk

W: www.tcmtrailers.co.uk

Festival Gas

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

T: 07930 758893

E: simon@festivalgas.co.uk

W: www.festivalgas.co.uk

FIRE COVER

Aero Fire & Rescue Ltd 27 Old Gloucester Street

London WC1N 3AX

T: 0330 111 3635

E: contact@aerofireandrescue.co.uk

W: www.aerofireandrescue.co.uk

FLAGPOLE HIRE

Red Rose Fire Solutions Ltd

6 Brissenden Close

New Romney

Kent

TN28 8JD

T: 01995 503504

E: info@redrosefiresolutions.co.uk

Fuchsia Exhibition Services Ltd

13 Oak Park Industrial Estate, Chelmsford Road, Great Dunmow, Essex, CM6 1XN

T: 01371 644800

E: info@fuchsiaevents.co.uk

W: www.fuchsia-exhibition-services.com

FLAGS

Instant Marquees

T: 01840 213063

www.instantmarquees.co.uk

FLOORING & FLOOR COVERINGS

Coir Store

E: andy@coirstore.co.uk

T: 07884303082

W: www.coirstore.co.uk

Event Flooring Solutions Ltd

T: 01509 768 252

E: sales@efseurope.co.uk

W: www.efseurope.co.uk

Gigtent UK

Sonas House, Button End Harston Cambridge, CB22 7NX

T: 01223 870935

E: info@gigtent.co.uk

W: www.gigtent.co.uk

FURNITURE HIRE / SALES

Furniture On The Move

Unit B, Canada warehouse, Chittening industrial estate  Worthy road , Avonmouth, Bristol, BS110YB

T: 0845 459 9875

E: info@furnitureonthemove.co.uk

W: www.furnitureonthemove.co.uk

GBJ Event Hire

Graham Jones

T: Office. 0207 205 4226

E: hire@gbjeventhire.co.uk

W: www.gbjeventhire.co.uk

HEATING & COOLING SYSTEMS

BiemmedueUK & Arcotherm

Unit 12, Wilson Road, South Wigston Leicester LE18 4TP

T: 01773 836999 | E: sales@biemmedueuk.com

W: www.biemmedueuk.com

Spica Temperature Control Solutions Ltd

20 Crowsport, Hamble, Hampshire, SO31 4HG

T: 02380 453841

M: 07780 638976

E: kay@spicasolutions.com

W: www.spicasolutions.com

INSURANCE

Arc International

St. Clare House, 30-33 Minories, London, EC3N 1PE

T: 0207 977 7637

W: www.arc-int.co.uk/

Tysers Insurance Brokers

71 Fenchurch Street, London, EC3M 4BS

T: 0203 037 8000

E: tim.rudland@tysers.com

W: www.tysers.com

Vento

LASER & FX

Event Insurance by Event People

107 Fenchurch Street, London, EC3M 5JF

T: 0333 090 7589

E: freddie@ventoinsurance.com

W: www.ventoinsurance.com

Laser Grafix

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

E: info@lgfx.co.uk

W: www.lgfx.co.uk

UK office: 01767 315948

Dubai office: +971 4887 9808

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

LIGHTING

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

PART OF

MARQUEES

Illumin8

Nick: 07593437891

E: sales@illumin8lights.co.uk

W: www.illumin8lights.co.uk

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

Gigtent UK

Sonas House, Button End Harston Cambridge, CB22 7NX

E: info@gigtent.co.uk

W: www.gigtent.co.uk

Instant Marquees

T: 01840 213063

www.instantmarquees.co.uk

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

Yes Tents

4b Hall Farm Business Park, London Road, Weston, Beccles NR348TT

T: 07932 642689

E: paul@yestents.com

W: www.yestents.com

MEDICAL SERVICES

Alliance Pioneer Group

Event Medical, Frontline Ambulance & Patient Transport Services

Hawthorne House, 2nd Floor 25 Darklake View, Estover, Plymouth, PL6 7TL

T: 01752717720

E: mail@alliance-pioneer.co.uk

W: https://alliance-pioneer.co.uk/

Instagram: @alliancepioneergroup

Twitter: @AlliancePGUK

Facebook: https://www.facebook.com/Alliance.

Pioneer

LinkedIn: https://uk.linkedin.com/company/ alliance-pioneer-group

Canopy Medical Services Ltd

T: 07514 780025

E: jules@canopymedicalservices.co.uk

W: www.canopymedicalservices.co.uk

Enhanced Care Services

Unit H9, Adanac Park, Adanac Dr, Nursling, Southampton SO16 0BT

T: 02380 201561

E: admin@enhancedcareservices.co.uk

W: www.enhancedcareservices.co.uk

First Aid Cover Ltd

T: 020 8875 5758

E: enquiries@firstaidcover.co.uk

W: www.firstaidcover.co.uk

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

Trident Medical Limited

Based in Essex, cover events all over the UK

T: 01279 319039

M: 07379 244718

E: events@tridentmedical.co.uk

W: www.tridentmedical.co.uk

Symphotech

Safety. Production. Noise Management

Claire Feeney

T: 0871 711 5264

E: claire@symphotech.co.uk

PLANT HIRE

Hopkins Machinery

T: 01633 680754

E: hire@hopkinsmachinery.co.uk

W: www.hopkinsmachinery.co.uk

PORTABLE TOILET HIRE

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 Hire Event

Unit C White Oak Technology Park, London Road, Swanley, Kent BR8 7AG

T: 01322 761 117

M: 07960 301178

E: info@vacant.events

W: https://vacant.events/

Zoo Events Group Ltd

Stockton Dairy, Stockton, Warminster, BA12 OSQ

T: 01258 840233

E: info@zooeventsgroup.co.uk

W: www.zooeventsgroup.co.uk

POWER & GENERATORS

ATD Electrical

CONNECTIONS

Unit 93, Greenway Business Centre, Greenway, Harlow, Essex, CM19 5QE

T: 01279 507890

E: office@atdelectrical.com

W: www.atdelectrical.com

Energy Management Services Ltd

T: 0333 305 5144

E: admin@energyms.co.uk

W: www.energyms.co.uk

Festival Power Ltd

Unit 2, Temple Bridge Business Park, Bristol, BS39 5AA

E: info@festivalpower.co.uk

W: www.festivalpower.co.uk

Fourth Generation Ltd

220 Cricklewood Lane, London, NW2 2PU

T: 020 8450 2943

M: 07741 052565

E: tweed@fourthgenerationltd.com

W: www.fourthgenerationltd.com

Gofer Ltd

Unit 7 Arkwright Road, Hadleigh Road Ind. Est, Ipswich, Suffolk, IP2 0UB

T: 01473 282530

E: info@gofer.co.uk

W: www.gofer.co.uk

IDE Systems

T: 01543 574 111

E: enquiries@idesystems.co.uk

W: www.idesystems.co.uk

Head Office & Manufacturing Centre

Unit 3, Swaffield Park Hyssop Close, Cannock Staffordshire, WS11 7FU United Kingdom

Lifos Advanced Battery Technology Ltd

Stafford Park 5, Telford, TF3 3AS

T: 01952 200198

E: hello@lifos.co.uk

W: www.lifos.co.uk

Midas Productions (UK) Ltd

Unit 1, Uplandside, Manor Road, Clopton, Suffolk, IP13 6SH

T: 0333 772 0772

M: 07949 007 603

E: info@midas-uk.co.uk

Newburn Power Rental Limited

Unit 36 Lidgate Crescent, Langthwaite Business Park, South Kirkby, Pontefract, WF9 3NR

T: 0845 077 6693

E: info@npr-uk.com

Power Events

T: 01277 424800

E: enquiries@powerevents.co.uk

W: www.powerevents.co.uk

CONNECTIONS

Power Revolution

23C Shepherds Grove Ind Est, Stanton Bury St Edmunds, IP31 2AR

T: 01359 256 265

E: info@power-revolution.co.uk

W: www.power-revolution.co.uk

Progen Power Ltd

Belvedere House, Pynes Hill, Exeter,Devon, EX2 5WS

T: 0330 165 5720

E: info@progenpower.co.uk

W: www.progenpower.co.uk

Stuart Power Ltd

Stuart House, Hargham Road, Shropham, Norfolk, NR17 1DT

T: 01953 454540

E: enquiries@stuartgroup.info

W: www.stuartgroup.ltd.uk/power

PRINTERS

UK Flyers

Suite 210, Victory House, Somers Road, North Portsmouth, HampshirePO1 1PJ

T: 023 9229 3050

E: sales@ukflyers.com

W: www.ukflyers.com

PRODUCTION AND PROJECT SUPPORT

Smartrad Creative Ltd

5 George Street, Snaith, DN14 9HY smartradcreativeprojects@gmail.com

www.smartrad.org

T: 07711469787

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

SFL Mobile Radio

6 Woodway Court, Thursby Road Bromsborough, CH62 3PR

T: 0151 334 9160

E: sales@sflmobileradio.co.uk

W: www.sflmobileradio.co.uk/

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

Blue Planet Washing Solutions

Unit 15 GIDC, Cobham Way, Crawley, West Sussex, RH10 9RX

T: 01293 553040

E: info@blueplanetws.co.uk

W: www.blueplanetws.co.uk

SEATING

Ace Seating Hire

T: 01832 279333

E: info@aceseating.co.uk

W: www.aceseating.co.uk

SECURITY

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

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

Linkedin @trojan-security-uk-ltd Facebook @TrojanLondon

Instagram @trojan_security_UK

T: 0800 043 2688

E: sales@dcrs.co.uk

W: www.dcrs.co.uk

CONNECTIONS

SET & SCENERY CONSTRUCTION

Staged Events Ltd

Meadow View, Newnham Lane, Old Basing, Hampshire, RG24 7AU

T: 01256578055

E: info@stagedevents.com

W: www.stagedevents.com

SHOWERS

Zoo Events Group Ltd

Stockton Dairy, Stockton, Warminster, BA12 OSQ

T: 01258 840233

E: info@zooeventsgroup.co.uk

W: www.zooeventsgroup.co.uk

SITE SUPPLIES

Concept Products Ltd

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

T: 01458 274020

E: ben@conceptproductsltd.co.uk

W: www.conceptproductsltd.co.uk

STAGING & RIGGING

IPS (Impact Production Services)

29 Mount Avenue, Bletchley, Milton Keynes, MK1 1LS

T: 01908 657950

E: enquiries@ips.co.uk

W: www.ips.co.uk

The Stage Bus

19 Prestwood Road, Birmingham, B29 5EB

T: 0121 585 9264

E: info@thestagebus.com

W: www.thestagebus.com

Steeldeck Rentals

Unit 58, T. Marchant Estate, 42 - 72 Verney Rd, London SE16 3DH

T: +44 (0)207 833 2031

E: rentals@steeldeck.co.uk

W: www.steeldeck.co.uk

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

Gigtent UK

Sonas House, Button End Harston, Cambridge, CB22 7NX

E: info@gigtent.co.uk

W: www.gigtent.co.uk

LH Woodhouse

Wolds Farm, The Fosse, Cotgrave, Nottingham, NG12 3HG

Delivering successful events

T: 01159 899 899

E: sales@lhwoodhouse.co.uk

W: www.lhwoodhouse.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

Mehler Texnologies UK Ltd.

Hollinwood Business Centre

Albert Street, Oldham, Lancs. OL8 3QL

E: info-uk@freudenberg-pm.com

W: www.mehler-texnologies.com

NEPTUNUS Ltd

Cob Drive, Swan Valley, Northampton NN4 9BB

T: 01604 593820

E: sales@neptunus.co.uk

W: www.neptunus.co.uk

Stunning Tents

Creative House, Station Road, Theale RG7 4PD

T: 0118 380 5590

E: team@stunningtents.co.uk

W: www.Stunningtents.co.uk

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

The Dome Company

T: 07876673354

E: info@thedomecompany.co.uk

W: www.thedomecompany.co.uk

CONNECTIONS

TT Tents Ltd

North Waltham Business Centre, Basingstoke, Hampshire, RG25 2DJ

T: 01256 397 551

E: sales@tttents.co.uk

W: www.tttents.co.uk

Worldwide Structures Ltd

TICKETING

Ayrshire Farm, Sharcott, Pewsey, SN9 5PA

T: 01672 565 060 / +44 (0) 7875 027369

E: enquiries@w-sl.com

W: www.worldwidestructures.com

VENUE MAPPING

Iventis

Think Tank, University of Lincoln, Ruston Way, Lincoln, LN6 7FL

T: 01522 837205

E: info@iventis.co.uk

Eamon Kerrigan:

E: Eamon.kerrigan@iventis.co.uk

W: www.iventis.co.uk

WASTE MANAGEMENT

D C Site Services Ltd

Citizen Ticket

84 Commercial St, Leith, Edinburgh, EH6 6LX

E: info@citizenticket.co.uk

W: www.citizenticket.com

Skiddle Ltd

Ashley Hall Farm

Inglewhite Road, Goosnargh PR3 2EB

W: www.skiddle.com

TRACKWAY

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

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

Right Guard Traffic Management

Event Traffic Management

VEHICLE HIRE

CSAS Accredited Traffic Officers

Car Parking

Event Signage

T: 01227 464588

E: info@rightguard.co.uk

W: www.rightguard.co.uk

Fenland District Industrial Estate Station Road, Whittlesey Peterborough PE7 2EY

T: 01733 200 713

E: info@dcsiteservices.com

W: www.dcsiteservices.com

Falcon Cleaning

The Falcon Nest, Unit 10 & 11, Lower Gower Road, Royston SG8 5EA

E: admin@falconteam.co.uk

W: www.falconteam.co.uk

WATER & PLUMBING SERVICES

Liquiline Ltd

The Incuhive Space, Office 7:001, The Guild, King Street, Wilton, Wilts SP2 0RS

T: 01258 830324

DRINKING WATER

PURE & SIMPLE

E: Bill@liquiline.co.uk

W: www.liquiline.co.uk/terms

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

Wicked Event Water Services

Kevin: 07909 771996

E: info@wickedeventwaterservices.com

W: www.wews.biz

WIFI, INTERNET & STREAMING

Fli-Fi Ltd

UK Wide

T: 020 3778 0454

E: enquiries@fli-fi.com

W: www.fli-fi.com

Bradshaw Event Vehicles

New Lane, Stibbington, Peterborough, PE8 6LW

T: 01780 782621

E: enquiries@eventvehicles.co.uk

W: www.eventvehicles.co.uk

Twitter: @Bradshaw_EV

SimpliWifi

Unit 13, Leominster Enterprise Park, Leominster, Herefordshire, Hr6 0LX

T: 0800 298 9434

E:  hello@simpliwifi.agency

W: https://simpliwifi.agency

Editor

Caroline Clift caroline@standoutmagazine.co.uk

Publication manager

Sarah Bourne sarah@standoutmagazine.co.uk

Account executives

Holley Wilkinson holley@standoutmagazine.co.uk

Jen Crisp jen@standoutmagazine.co.uk

Marketing executive

Katie Goldsmith marketing@standoutmagazine.co.uk

Design and production

Jonathan Graham

Colin Swaffer

Neil Hepden

Jemma Heslop studio@standoutmagazine.co.uk

Digital and web developer Matthew Coppard

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, 3 The Metford, Evegate Business Park, Smeeth, Ashford, Kent, TN25 6SX

T: 01795 509113

www.standoutmagazine.co.uk

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