TPi September 2020 - #253

TOTAL PRODUCTION INTERNATIONAL LIVE EVENT DESIGN & TECHNOLOGY • SEPTEMBER 2020 • ISSUE 253

#WEMAKEEVENTS

UK event industry takes to the streets

I

#WEMAKEEVENTS

WACKEN WORLD WIDE • FRANK TURNER: LIVE FROM VANS FOR BANDS • CAR PARK PARTY • PSA OLIVIA DEAN • THERAPY ON TOUR & THE BACK LOUNGE • DYNAMITE FX • PRODUCTION FUTURES

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EDITOR’S LETTER

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The August bank holiday typically signals the end of the UK festival season, with Creamfields or Reading and Leeds Festival marking the end of TPi’s months in the mud. Despite the lack of festival site visits, this August has certainly been eventful, with the #WeMakeEvents campaign, developing COVID-19 research and the launch of Production Futures 2020.

Let’s start with our cover story this month, #WeMakeEvents demonstrations took place across the UK on 11 August, with the TPi team out in force in Liverpool and Manchester. It was difficult to comprehend that it had been almost half a year since we had last been face-to-face with those supporting the campaign.

It proved that, as great as Zoom, Google Hangouts and Skype are at helping us keep in contact – there is simply no alternative to the buzz of catching up with friends and colleagues in person. As well as the camaraderie that was palpable at all these events, a true takeaway was how effective the industry proved to be in harnessing their experience to gain the attention of the mainstream media. You can read more about each of the region-specific demonstrations on page 40.

This month saw yet more digital alternatives to live events that captured the imagination of fans across the globe. From Frank Turner’s Vans For Bands’ HQ set, with profits sent to his touring family (page 34), to the out-of-this-world production of Wacken World Wide, which saw the famed metal festival open its virtual gates to millions (page 24). Yet again, both productions showcased the crews’ ability to think outside the box and produce unique events, which keep the fire of the live music industry burning.

We are now witnessing interesting steps when it comes to research being undertaken to find a workable solution for live events. The most notable of which comes from Germany, which last month undertook the largest experiment of its kind in Leipzig. Led by the team at Martin Luther University Halle-Wittenberg and under the banner of Restart 19 – 1,400 volunteers attended a live show, all in the name of getting a clearer picture of how COVID-19 could be prevented from spreading at large indoor concerts. The findings are set to be released in October.

Amid the confusion, TPi has been working on something rather exciting – Production Futures 2020.

We are going full steam ahead with our annual event, which aims to give those looking to start a career in live music the opportunity to learn, network and gather the skills needed to take the next step in the events industry. Taking place from 9 – 13 November, the event will comprise a whole week of information, webinars and one-on-one interviews, all with the aim of better shaping the future of our industry and providing some inspiration for the next generation. You can read more about the event on page 8.

Till then, stay safe out there.

Stew Hume Editor

EDITOR Stew Hume Tel: +44 (0)161 476 8385 Mobile: +44 (0)7702 054344 e-mail: s.hume@mondiale.co.uk

ASSISTANT EDITOR Jacob Waite Tel: +44 (0)161 476 8352 Mobile: +44 (0)7592 679612 e-mail: j.waite@mondiale.co.uk

CONTRIBUTING EDITOR Peter Iantorno Tel: +44 (0)161 476 8360 Mobile: +44 (0)7763 233637 e-mail: p.iantorno@mondiale.co.uk

ACCOUNTS Lynette Levi / Sarah Miller: ar@mondiale.co.uk

DIGITAL EDITORIAL ASSISTANT James Robertson Tel: +44 (0)161 476 8360 Mobile: +44 (0)7725 475819 e-mail: j.robertson@mondiale.co.uk

COVER #WeMakeEvents Manchester by Jack Kirwin

COMMERCIAL DIRECTOR Hannah Eakins Tel: +44 (0)161 476 8360 Mobile: +44 (0)7760 485230 e-mail: h.eakins@mondiale.co.uk

Issue 253 – September 2020

CHIEF EXECUTIVE Justin Gawne Tel: +44 (0)161 476 8360 Mobile: +44 (0)7768 850767 e-mail: j.gawne@mondiale.co.uk GRAPHIC DESIGN & PRODUCTION Dan Seaton: d.seaton@mondiale.co.uk Mel Capper: m.capper@mondiale.co.uk

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TOTAL PRODUCTION INTERNATIONAL is a controlled circulation magazine, published 12 times a year by Mondiale Media Limited under licence. ISSN 1461-3786 Copyright © 2020 Mondiale Media Limited. All contents of this publication are subject to worldwide copyright protection and reproduction in whole or part, in any form whatsoever, is expressly forbidden without the prior written consent of the Publishers. Every effort is taken to ensure accuracy in the preparation of this publication but neither Mondiale Media Ltd, nor the Editor, can be held responsible for its contents or any consequential loss or damage resulting from information published. The views expressed are not necessarily those of the Publishers or Editor. The Publishers accept no responsibility for the return of unsolicited manuscripts, photographs, illustrations, advertising materials or artwork. Total Production International USPS: (ISSN 1461 3786) is published 12 times a year by Mondiale Media Limited United Kingdom. The 2020 US annual subscription price is 117USD. Airfreight and mailing in the USA by Agent named Air Business, C/O WorldNet Shipping USA Inc., 155-11 146th Avenue, Jamaica, New York, NY11434. Periodicals postage paid at Jamaica NY 11431. US Postmaster: Send address changes to Total Production International, Air Business Ltd, C/O WorldNet Shipping USA Inc., 155-11 146th Avenue, Jamaica, New York, NY11434. Subscription records are maintained at Mondiale Media Ltd. Waterloo Place, Watson Square, Stockport, SK1 3AZ, UK.

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ITINERARY

EVENT FOCUS 08

Production Futures The show must go on(line). The event returns on the 9 - 13 November 2020.

09 Qooqqut Festival

Allen & Heath SQ-6 mixes the remote festival.

18

24

10

Coping in Lockdown TPi chats to the creators of Therapy on Tour and The Back Lounge safe spaces.

12

We Are The Road Crew Podcast A new podcast which hopes to bring the stories of roadies to a wider audience.

14

Green Grey Robe fixtures among the moving lights illuminating a series of ‘vertical gigs’.

18

20

Olivia Dean Sinclair / Wilkinson hits the road with the East London singer-songwriter.

Dynamite FX: Lockdown Projects Warwickshire special effects firm reflect on projects in lockdown.

PRODUCTION PROFILE 24

Wacken World Wide Stew speaks to the crew powering the metal festival’s livestream alternative.

34

Frank Turner Retracing the footsteps of one of the busiest performing artists in lockdown.

#WEMAKEEVENTS 40

34

A region-specific overview of the national #WeMakeEvents campaign on 11 August.

CHANGING HATS 50

Roadies pivot their skillsets to cater for alternative employment opportunities.

PRODUCTION FUTURES 56

City, University of London students host a virtual conference of industry insiders.

INTERVIEW

40

58

Car Park Party Coalition Agency Founder and CEO, Guy Robinson takes TPi behind the screens.

62

Touring Family Out of pocket family face an uncertain future with no government support.

FUTURE INSIGHTS 64

The latest product releases.

PSA: THE BIGGER PICTURE 68

The Stagehand Crew Relief Fund.

INDUSTRY APPOINTMENTS 70

58

The latest movers and shakers.

BACK CHAT 74 TPi Awards Backline Technician of the Year, Bob Munro takes the hot seat.

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PRODUCTION FUTURES

Running from 9 to 13 November this year, TPi’s annual event goes online – offering a whole week of free web-based learning, resources and engagement with the global live events industry.

Taking place from 9 to 13 November, Production Futures Online is a brand-new platform for students, freelancers and young people all over the world to access training sessions, workshops, webinars, product demonstrations, panel discussions and interviews with live event experts and TPi Award winners.

Production Futures will provide the tools, knowledge, advice and contacts needed for anyone to broaden their skills or start their career in live events. It will offer access to people who work in all areas across the live events industry – from production and tour managers, to hands-on engineers across all aspects of sound, lighting, video, rigging, special effects, staging and set design.

In these uncertain times, there is a real need to reassure students, freelancers and young people that the live events industry is still alive

and kicking – it just looks very different right now. There is a genuine concern that highly skilled professionals will leave the industry and TPi wants to support their future as well as new talent starting their career in live event production.

The event will also host the TPi Breakthrough Talent Awards 2020, where students, freelancers and young people can win a free seat at the TPi Awards 2021 dinner.

For more details about Production Futures Online and to find out how you can support the event, please contact Hannah Eakins at: h.eakins@mondiale.co.uk TPi Photo: Andrew Benge www.productionfutures.co.uk

08

QOOQQUT FESTIVAL

Wash light – with an Edge

QOOQQUT FESTIVAL A compact Allen & Heath SQ-6 mixes one of the world’s most remote festivals.

Get your Pix fix highend.com/solapix With no roads, phone signal or onsite internet, Qooqqut Festival 2020 offered attendees a rare opportunity to step outside the everyday world and experience a diverse programme of music, workshops and traditional sports. Tickets were capped at an intimate 250 people each day and the event was planned in close cooperation with the authorities to ensure compliance with COVID-19 guidelines.

Katuaq Sound Technician, Angunnguaq Larsen, mixed FOH for the event from a 48-channel SQ-6 console, with an iPad running the SQ MixPad app providing him with a portable solution for controlling all the artists’ monitors. An SQ Dante card in the console enabled the FOH and monitor split as well as providing multitrack recording capability. A pair of portable DX168 I/O expanders were placed onstage, connecting to the SQ-6 over the plug and play SLink protocol.

“The main reasons we chose to bring our SQ were the audio quality and the size. For this festival you can’t just put the equipment in a truck and drive to the site – everything must be carried in by hand. I really like the sound quality and the headroom you get from SQ,” Larsen said.

“I also appreciate the DEEP processing models in the compressor pack, and the onboard FX provide depth when you need it. With a busy programme and short setup times, the mixer’s ease of use and fast workflows are also important. You can do pretty much anything with SQ,” he added.

When it is not running FOH by the fjord, the Allen & Heath SQ-6 is part of the AV system at Katuaq in Nuuk, mixing performances and conferences in the centre’s 508-capacity main hall and two smaller event spaces.

TPi Photos: Allen & Heath www.allen-heath.com

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EVENT FOCUS

COPING IN LOCKDOWN: THERAPY ON TOUR & THE BACK LOUNGE With the touring community grounded for the foreseeable future, two support groups crop up online with the goal of providing community and support for those in need during this trying time.

The relationship between social media and mental health is a complex one. Despite the benefits of offering a medium for communication, there are many who would point to social media as a catalyst for various underlying mental health issues. This month, TPi was keen to highlight two new incentives that have recently emerged via social media – namely Tiffany Hudson’s Therapy on Tour and Suzi Green’s The Back Lounge.

With a great deal of experience within the live touring sector, both women have interesting insights into the effect the current global situation is having on those working in the industry, which led them to create these safe spaces for people to discuss the issues and communities to support one another through this time.

Having worked in various touring roles for a number of years, Hudson left the touring circuit in 2017. “I had already started training as a therapist at that point,” she explained. Despite making a drastic career change, Hudson still wanted to keep a focus on the touring sector, outlining her goal of offering her services for those who need it on the road. “We would then keep a dialogue with those I speak to on tour between legs as – from personal experience – transitioning from being on the road to back at home was always the toughest time.”

However, given the current landscape, the industry is now experiencing more time at home than ever before. “It’s super tough right now for those working in the industry,” she commented. “Many are having to look at the possibility of different careers, which is a terrifying prospect.”

Hudson explained how she had heard of people beginning to meet up in groups to support one another – an idea she thought she could

expand on. “I wanted to create a peer support group to provide a space that is supportive for more people in our industry during this pandemic.

It’s a confidential space to connect with fellow industry colleagues, share resources, ideas and experiences.”

Despite being a registered therapist, Hudson was clear that this was not a therapy group but a support network taking place via Zoom – with all the relevant safeguards, including locked room and password protection.

Speaking following the first session of the pilot group, Hudson reported: “There were six of us this week. The group felt strong and supportive, with everyone discussing their personal challenges and things that they have found supportive recently. It was uplifting from my experience and I hope to hear similar things from the members, too. Considering the members didn’t know each other before, there was great chat and sense of community, whilst staying on the topic of wellbeing.”

As well as creating the group, Hudson has also shared her thoughts on how people can make sure they look after themselves during this trying time. “One issue is the misunderstanding of what selfcare actually is,” she proffered. “As an example, getting your hair done or something where you treat yourself is not necessarily truly spending quality time.”

She noted that something as menial as “finding as little as 10 minutes a day, or when you’re feeling particularly overwhelmed to go for a walk, do some yoga or have a cup of tea with limited outside distraction can have a huge impact on mental health.”

She also explained that another common issue was the need to create boundaries while living at home full time. “For example, if it’s not a good 10

Opposite: Tiffany Hudson and Suzi Green.

time to answer the phone to even friends or family, know it’s OK to call back another time.”

Also creating an online space for open discussion is Suzi Green – Tour Manager for number of acts including PJ Harvey and Placebo. “Prior to lockdown, my Facebook page was prehistoric. I’d actually say I was social media phobic,” she began. “However, with gigs on hold, and missing my tour family and the crazy life, I opted to reactivate my page to keep in contact in order to feel less isolated.”

As Green jumped back into the world of social media, she began researching mental health support for those in the industry, eventually stumbling across a group in the US for a charity called Backline Care. “It was amazing,” she said. “They run two Zoom meetings a week that are open to all, comprising people from the industry sharing advice and support.”

After two months of attending the biweekly group sessions, Green thought it was time that there was a similar incentive, this side of the pond.

After gauging interest with some tentative Facebook posts on her profile and various music industry-related groups, she formed The Back Lounge.

“I’ve already hosted 10 weekly sessions so far, which have gone very well,” said Green. “The idea is that each meeting we cover a different topic, mostly with a mental health and wellbeing theme – from ‘how to go cold turkey from touring’ to ‘coping with the daily ups and downs of the coronacoaster’ and we’ve also taken a look at how to make things better when we return to work, discussing bullying and the feelings of isolation that can happen on tour. Some weeks we have guest speakers, so this week as our theme is ‘finding work’ and how to pitch yourself outside the industry,

we have a career coach joining us.” The group averages around 20-plus people on each Zoom meeting, and Green maintains the mood remains surprisingly intimate as whilst sharing the darker side of what this year has been personally for many in the industry, they always look to support each other and to share techniques to help stay positive and motivated.

“Our private Facebook group now has 150 active members from across the world at all stages of their careers and is a place where we post encouragement and resources. The whole experience has been mindblowing and shows how vital it is to stay connected during this time to help us keep the faith,” she stated.

Many of the topics have also touched upon the future of the industry and ways to improve crewmember wellbeing on tour, not to mention diversity within the ranks. “As we now have this mandated time where we are not on the road, I feel it’s a great time to pool our collective knowledge and attempt to make the industry a better one when we return,” said Green.

In a similar vein to Hudson, Green asserted The Back Lounge was not a Therapy session but a space to “talk and share ideas”.

For more information on both of these incentives, you can join the groups on the related Facebook pages. Further information and help can also be found on the Music Support website.

TPi Photos: Katie Frost Photography and Suzi Green www.musicsupport.org www.therapyontour.com The Back Lounge Music Touring and Events Group on Facebook 11

EVENT FOCUS

Made At Last’s Ben Firth; We Are The Road Crew Podcast Host, Stephen Hill.

WE ARE THE ROAD CREW PODCAST Made At Last’s Ben Firth discusses the company’s latest podcast, which shines a light on the road crew behind some of the biggest bands on the touring circuit.

With a name that pays homage to Motörhead, We Are The Road Crew Podcast, marks the latest in a recent slew of roadie-generated podcasts that put the spotlight on those working in the live touring sector. The brainchild of Ben Firth from Made At Last and hosted by Music Journalist, Stephen Hill, the show has already accrued an audience of touring veterans and passionate music fans keen to discover more about the world of live touring.

“The idea behind the show stemmed from my personal experience, having toured with various bands before I became a studio-based audio engineer,” began Firth. As well as pursuing a career behind the faders, over the past few years, Firth has also built up Made At Last – a PR company whose goal is to promote new and emerging musical talent. Although discovering talent was the original focus, over time the company has branched out to cover many aspects of the industry, from PR, playlists and exclusives, to producing music-based content across all forms of media.

This year, Firth wanted to ensure that those working in the industry also got their moment. “I have always felt like the people behind the scenes are hidden away somehow, with nobody really knowing who these people are, thus they never get the praise they deserve. We have all been to shows that we remember for being great performances by the band or artist, but if it wasn’t for the hugely talented crew working night and day behind the scenes to make those shows happen, they wouldn’t exist.”

Hosting each episode of the podcast is rock media personality, Stephen Hill. As host of the Riot Act Podcast, Hill has become a familiar face in the world of alternative music, writing for Metal Hammer as well as co-hosting the magazine’s podcast back in 2013. “Stephen is a fantastic music journalist and has been involved with many music publications over his career; he is extremely knowledgeable and passionate about music in general,” stated Firth, who has worked with Hill on a number of projects over the years.

“It’s no secret that we share a passion for metal, rock and alternative music,” he added. “But his unique personality and interview talent shines

through, appealing to a wide audience.” With a wealth of knowledge as a music critic, each episode Hill aims to get each interviewee to give an insight into life on the road. Firth explained: “Each episode so far has been essentially a one-to-one conversation. I’ve tried to mix the guests within the season to cover the many different job roles within the touring personnel world – for example, sound engineers, lighting directors, tour managers, PR representatives and backline techs.”

Now in its second season, the podcast features notable interviews with Audio Engineer, Jon Burton (The Prodigy); Stage and Lighting Designer, Paul Dexter (Elton John and Motley Crew), and Crew Chief Peter Hince (Queen) – among other big names on the touring circuit. “Each show is fascinatingly unique,” Firth said. “I’m sure both myself and Stephen have our own personal highlights, but certainly for me, growing up as a Queen fan, speaking to Peter Hince, who was Head of Queen’s Road Crew between 1973 and 1986, was an absolute honour.”

Firth explained that although the podcast has gained a following within the touring community, listeners are made up of a range of backgrounds.

“We have many who are just passionate music fans, who love live music and appreciate the roles that touring crew do to bring you that live experience.”

The podcast’s latest season has picked up a sponsor – Signature Brew – a company that also has a history of supporting live music. “Having them on board is a perfect fit for the show and we hope that that relationship will continue to develop over the coming years,” commented Firth.

The next season will be in partnership with Factory Originals, known for creating high-quality content for brands, agencies and broadcasters. “Once the government restrictions ease, we will be back recording in the fantastic surroundings of the Podcast Lounge at Factory Studios in London,” stated Firth, who hinted that there was already an amazing list of crew personnel ready to take the hot seat.

TPi Photos: Made At Last www.madeatlast.com 12

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EVENT FOCUS

GREEN GREY’S VERTICAL GIGS Robe MegaPointe fixtures go vertical in Kiev, Ukraine.

In Kiev, Ukraine, ‘vertical concerts’ were initiated by rock band Green Grey, who performed on the rooftop of a building opposite the city’s Bratislava Hotel – where fans occupied nine storeys of rooms with separate balconies, each with a fantastic socially distanced view of the gig.

Ukrainian rental and technical production company Alight was called upon to provide lighting for the rooftop stage – on top of Hotel Bratislava’s separate restaurant building – with a production lighting design created by Eugene Kostyra, which featured 10 Robe MegaPointe lighting fixtures.

The equipment was craned up to the rooftop, rock ’n’ roll style – where Green Grey played the first vertical set, followed a couple of weeks later by hip hop act TNMK (Tanok na Maidani Kongo) and rock band, O’Torvald.

Robe MegaPointe fixtures were deployed behind the stage, creating powerful backlight shooting up into the night skies, illuminating the architecture of the stage and highlighting the unique urban landscape during Green Grey’s set.

During the O’Torvald’s performance, MegaPointes were placed on the stage floor and in front of the main lighting gantry upstage.

Kostyra – who works full time for Alight and is a prolific LD with The Voice Ukraine among his recent projects – specified MegaPointes as his ‘goto’ lighting fixtures. “They are just so versatile that I use them on virtually every project I design,” he stated.

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GREEN GREY’S VERTICAL GIGS

high-impact effects. On these shows, although initially hidden behind to the artists and like it was a regular arena show, rather than on another the line-of-sight, he could simply blast them in with different colour / building. “Vertical concerts have created a massive buzz of excitement and gobo combinations boosting the energy and been hugely popular, selling out fast,” Kostyra excitement of the performance. said. Instead of buying tickets, fans booked Alight has been investing steadily in Robe hotel rooms with up to four people from products for the past six years and now has families and household bubbles per room. over 200 units in rental stock. The company For Kostyra, who has lit shows in some considers Robe “one of the best” brands to interesting places before, the most enjoyable work with for reliability and quality, and since aspect of working on the Vertical Concerts they purchased their first fixture, Robe has was “the incredible teamwork.” This included been prominent on the many shows they with Alight Lighting Crew Chief, Katunin Vitalii design and supply. and Green Grey’s frontman and guitarist, There were several other lights on the Andrii ‘Diezel’ Yatsenko. Sound and staging vertical concert’s rig, including small beam infrastructure was supplied by Zinteco with “Robe MegaPointes are just lights and matrix panels, together with the LED screens from ScreenPro. The news came so versatile that I use them on MegaPointes, all programmed and run by as the Ukrainian national lockdown measures Eugene from an MA Lighting grandMA3. were extended until 31 August. virtually every project I design.”

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EVENT FOCUS

OLIVIA DEAN Sinclair / Wilkinson design a unique production to keep singer-songwriter Olivia Dean on the road; adapting an old van into a touring stage, as TPi discovers...

OLIVIA DEAN

Within the pages of TPi over the past few months, we have scrawled endlessly about the need for innovation during these uncertain times, to keep music alive. However, the latest venture by singer-songwriter Olivia Dean and her team is a solution that harks back to the true roots of touring – staying out on the road and performing music to as many people as possible. Instead of typical tour trucks and busses, this innovative solution came in the shape of an old van transformed into a certified touring stage, providing the artist with the ability to park up and start performing to audiences throughout the UK. One of the masterminds behind the idea was Rob Sinclair. TPi is more used to bumping into Sinclair on the site of an arena, having designed sets for the likes of David Byrne, LCD Soundsystem, Kylie Minogue and Vampire Weekend. Speaking via Zoom before the truck set out on its maiden drive, he explained how he and Tour Director, Andrew Wilkinson – known collectively as Sinclair / Wilkinson – entered this project.

“The origin of this show came off the back of a call with Olivia’s management in May,” Sinclair recalled. “We decided that as no one could go and see her play, she could go and play for the people. The concept of turning a van into a mobile stage was under the premise that we wouldn’t attract huge crowds, but partake in a very ad-hoc style of touring to intimate audiences. The van build was amazing,” Sinclair continued, praising Matt Snowball, who played a huge role in the renovation.

Familiar with designing sets for arenas, the designer admitted that this post was quite a “weird” task. “I worked closely with Design Associate, Luke Rolls to devise a few options as to how to turn this relatively small space into a stage,” he said.

This back and forth went from the micro to macro detail – not least how to open the back of the truck to reveal the stage. As a result, the design team opted for a barn door-style design, which gave the best and most effective sightlines. “It’s really quite an elegant solution,” mused Sinclair.

“We are able to fit the whole band at a safe distance in the back.” Prior to hitting the road, Dean and her band rehearsed at Production Park’s The Mill, London – taping out a small rectangle of the studio floor in preparation of the small confines of the truck.

Assuming the role of Tour Manager – among other things – Wilkinson discussed the logistics of this particular venture. “In many ways, this project with Olivia is a bit like old-school tour managing,” he chuckled, referring to the “Wacky Racer” schedule they had come up with. “In the initial stages, we are getting in touch with private landowners – such as the owners of the fields which, in any normal year, would host Boardmasters Festival.”

Although analogue in its nature, the project has embraced the digital world in coming up with a list of locations they wanted to visit. “We’ve actually been using data from Spotify to create a list of hot spots where we know she has a few fans due to the number of streams,” stated Wilkinson.

The touring party is a very tight crew comprising eight people including: the band and FOH Engineer; Dean’s Manager, who handled merchandise; and finally, a Social Media Manager, who documented the journey through the UK. “Past the first few weekends, we are not sure where the van will end up,” Sinclair laughed, adding that this lack of a plan meant they could be incredibly flexible and able to change course if temporary lockdowns were put in place in certain areas.

“In these uncertain times, projects like this are really worth celebrating,” he concluded. “It’s been a lot of work and time and we don’t really know where it is going but, frankly, it’s exciting to be doing something.”

TPi Photos: Sinclair / Wilkinson www.oliviadeano.com www.sinclairwilkinson.com www.mattsnowball.com 19

EVENT FOCUS

DYNAMITE FX: LOCKDOWN PROJECTS Warwickshire special effects and pyrotechnics company, Dynamite FX reflects on a series of historic projects in lockdown…

With an unusual wealth of government-mandated time, Dynamite FX embarked on a series of dynamic lockdown projects, including Liverpool Football Club’s long-awaited Premier League trophy lift at Anfield and two Sam Fender shows at one of the UK’s first socially distanced music venues, the Virgin Money Unity Arena at Gosforth Park, Newcastle.

Dynamite FX was fast approaching what was set to be the company’s busiest year to date, with a series of touring and festival pitstops across Summer 2020. However, like the entire events industry, the Warwickshire special effects and pyrotechnics firm watched all the events, hires and sales disappear from the company calendar over a two-week period. “At the time the lockdown was being introduced, we were preparing for our first tour of the year with Sam Fender, and we were due to go into rehearsal on 17 March,” Dynamite FX Founder and Director, Joe Knight began. “We had two weeks of uncertainty and then got the news it was being postponed until September, which has now, of course, been moved again to Spring 2021.”

During the early part of lockdown, the company restructured its warehouse facility. “We began R&D on some new special effects that we

hope to have built and ready for our return in 2021,” Knight reported. “As part of the #LightItBlue campaign, we were involved with a Thank You NHS event at one of the UK’s best event venues – Aynhoe Park, Oxfordshire – supplying laser and special effects to celebrate the wonderful and tireless work of the brilliant NHS, caregivers and key workers.”

In June, Dynamite FX was contracted by Liverpool Football Club and the team’s main sponsor, Standard Chartered, to create a visual spectacle for the club’s long awaited – 30 years to be exact – Premier League trophy lift at Anfield. With no fans allowed in the stadium for the event, the SFX specialist designed and produced a quarter of a tonne of personalised confetti embellished with over 100 fan tweets of congratulations, which were fired during the trophy lift.

“We supplied 200 bespoke LFC-branded handheld confetti cannons for each of the football players and their families, VIPs and sponsors, to use on the pitch, dressing rooms and player hampers,” Knight recalled. “We have produced SFX for many sporting events over the years. This job was unique in the sense that there was a strategy behind what we were doing 20

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and had it not been for COVID-19, we would not have been producing fan tweets to shower down over the players as the crowd would have been in the stadium.”

Knight reflected on the ‘call to action’ of collating the tweets from fans, in order to design and deliver them in time for the televised show.

“To ensure we got everything on time, we had to send one of our team to collect the personalised confetti and handheld confetti cannons from the manufacturer in Europe, due to us not being able rely on any of the couriers being able to guarantee delivery on time because of the disruptions caused by the COVID-19 pandemic,” he commented. “It was so cool that we could use confetti to create a unique press angle that added meaning to the celebrations. Above all else, it was great be involved with the project; it kept us busy and it felt like things were back to normal.”

Following the LFC celebration, Dynamite FX received a request from Sam Fender’s tour management to put together an SFX package for two sell-out shows of a combined capacity of 5,000 people at one of the UK’s first socially distanced music venues, the Virgin Money Unity Arena at Gosforth Park, Newcastle.

“We have been supplying Sam Fender and his production team with various special effects and pyro packages since 2019. Following the cancellation of his tour, management wanted to go with a comprehensive package,” Knight explained. “However, we had to cut the pyro and confetti as these were not allowed on this particular site.”

In the end, Dynamite FX supplied eight CO2 Jets and 10 Sparkular effects, trigged by Senior SFX Technician, Liam Mace operating an MA Lighting grandMA2. “COVID-19 secure masks and gloves are worn during

job packing and de prep in the warehouse and equipment is cleaned with antibacterial spray. We have hand sanitiser stations in abundance, and minimal warehouse crew when packing and unpacking jobs to reduce the risk of contact,” Knight reported.

“On arrival to site at the Virgin Money Unity Arena, we signed up to a track and trace system. When working in the proximity of or on stage, crew wore masks and used hand sanitiser stations, which were located throughout the backstage area. All members of staff also received a COVID-19 safety briefing, with a limit to the number of staff that could work backstage or in the pit.”

For Knight and the Dynamite FX team, being back on site during an uncertain summer was an “incredible” experience. “These shows were the closest thing to being back on a huge stage. The working environment and morale of the crew and performing artists on site was incredible; we were so happy to be working again,” Knight enthused.

“We feel extremely privileged to have been able to work on the projects we have been involved with over these very unforeseen and testing times.

Like everyone else in the events industry, we are ready to get back to where we left off as soon as it’s safe and viable to do so.”

With more exciting large-scale projects pencilled in for 2021, as well as several music videos and commercials along with several socially distanced events in Autumn, the Dynamite FX team proves that creativity often thrives under constraint – and lockdown is no exception.

TPi Photos: Dynamite FX www.dynamitefx.com 22

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PRODUCTION PROFILE

WACKEN WORLD WIDE Following the cancellation of this year’s Wacken Open Air, festival organisers create a livestream capturing the vibe of one of the world’s biggest metal festivals. With metalheads around the world enjoying performances from the likes of Sabaton, Blind Guardian and Heaven Shall Burn, TPi’s Stew Hume gets among those in the virtual mosh pit.

Wacken Open Air has been on my festival bucket list for a long time, and 2020 was going to be the year I finally ticked it off. However, like everything during this ill-fated year, the festival had to be put on pause on account of COVID-19. Like many music festivals across the globe, Wacken Open Air organisers were keen to ensure that revellers were still able to get a taste of a festival this summer, embarking on a path which resulted in one of the largest streamed festival events of the year.

The annual metal festival is certainly not the first event to take their annual gathering to the digital realm, with multiple festivals such as Glastonbury and Boomtown Fair playing re-runs of performances, while others have had artists record live shows from across the globe. Wacken opted to take the concept one step beyond.

Taking place on 29 July – 1 August the event was streamed live by MagentaMusik 360 and MagentaTV. As well as broadcasting recordings from prior incarnations of the event along with original content provided by performing artists, the festival created a 3D space that perfectly mirrored the famed two-stage setup, with a virtual crowd and bands taking to a virtual xR stage akin to Wacken’s signature metal aesthetic. After all, how many other streamed shows have you seen with a full pyro setup with a virtual tank bursting through the set? With 11 million views across the weekend, Wacken World Wide clearly resonated with the metal community.

Raphael Grohe-Zürn of VEEDEL.mediale.inszenierung oversaw the technical elements of this show. Speaking to TPi days after the livestream, he recounted his introduction to the project. “This started for us after a James Blunt concert in Hamburg,” he chuckled, noting the disparity in genres. Like many artists, Blunt’s Hamburg show had to be closed off to

fans due to the rising tide of COVID-19. “We were providing a 360° streaming service for our client, Live Nation Brand Partnerships and Media. In the proceeding days, we kept speaking to Live Nation about what we could do in the coming months to keep events happening.”

One such event was Wacken, which organisers were keen to provide fans with an alterative to the physical event. Helping Grohe-Zürn in the project and overseeing the vision of the event was Lighting Designer, Bertil Mark of Stop Making Sense, who produced much of the visual content.

“I met up with Raph at Easter; we’d been watching a few other performances and streamed shows that had already happened,” Mark stated. “It was a time when new concepts were popping up each week and new creative avenues were being explored. The one thing we wanted to keep at the forefront of this show was the spirit of Wacken and providing a great show for their loyal fanbase.”

SETTING THE VIRTUAL STAGE For the live performances, the Wacken World Wide team created an LEDladen stage with an overhead lighting rig to form a fully functional xR studio space. PRG – a company with a storied history with the festival – provided the audio, lighting, video, broadcast and flightpack PPU. “We have worked on Wacken for the past 18 years,” began PRG’s Johannes Wahl, Director of Music and Theatre in Germany.

The method of xR has been a concept that PRG has experimented with since the global lockdown – most recently with Katy Perry during her Daisies performance at PRG’s LA Studio. “Before coming up with a plan for Wacken, we spoke to our colleagues in America to take all the lessons 25

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learned from that performance and take them over for the festival,” stated Wahl, who pointed out the difference between creating a setup for one performance and a festival line up with seven bands.

“From the beginning of the project, both the festival organisers as well as Raphael and his team wanted to create a true festival feel,” Wahl explained. “We even had a loading dock, although it was quite amusing how most bands were arriving and loading out of cars compared to the usual sight of multiple trucks,” he laughed.

The LED both on the floor and the rear wall resembled a very similar setup to that used for Katy Perry’s LED shoot in the PRG offices in LA, comprising two elements. The first was a rear curved LED wall made up of ROE Visual Black Onyx and measuring 5m high. The LED floor on the other hand came straight out of PRG Projects’ inventory. The Domino is a modular LED floor that can be joined together seamlessly. The surface was frosted to eliminate reflections that might impact on the virtual landscape.

“Our Domino project was created for the French band Phoenix, who were looking for a LED floor solution that was quick to deploy for their festival run,” said Wahl. “Although the speed of deployment was not necessary, the fact that it’s a touring product made it ideal for this show.”

The video team put their faith in Brompton processors to colour correct the LED products, allowing them to be easily adjusted for xR use.

“To create a seamless xR experience, we brought in Egripment, who provided two mechanically tracked camera cranes delivering absolute tracking data based on the TrackMen protocol – which provided sensor based 3D tracking solutions for the two crane cameras used on the set,”

Grohe-Zürn commented. “TrackMen‘s Protocol includes all lens data information based on their Superior lens calibration, often named as best in class and it works within your media servers – in our case the Ventuz servers,” he added, explaining how the interaction between the camera and servers helped create a seamless, virtual world for the band to play in.

He went on to explain the reason for the server choice. “The speed this all came together was very quick and all of us really know the Ventuz system, so it was the ideal choice.”

Ventuz, advantageously, is also based in Hamburg where the festival was being filmed, meaning some of the team were able to be on site while building up to the show. Wahl explained: “We needed to create and interface via ArtNet to connect the servers to the lighting desk, which was made a lot easier having the Ventuz team on site.”

VISUAL AESTHETIC At the centre of the visual world was an MA Lighting grandMA2. Mark explained the process of how each performance took place and centred around this console. “The grandMA2 speaks a lot of different protocol languages,” explained the LD. “This was essential as we were connecting so many other machines to the desk. Throughout the project, we had all the VR specialists behind us getting very excited as we were allowing all the worlds – audio, lighting and video – to have live simulations.”

According to Mark, the desk was very much the “master control station,” as it was launching all the effects for the rear LED and sound effects. As for the lighting fixtures chosen by Mark, LED was the theme. “In total, we only 26

L E D s o lu t io n s fo r

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L E D p a n e ls a re th e id e a l s o lu tio n to p o r tra y s e t a n d b a c kg ro u n d s c re a te d in v ir tu a l re a lit y. C re a tin g th e rig h t c a n v a s is n o t ju s t b u ild in g a n y L E D s c re e n . It ’s w h e re th e L E D p a n e l, p ro c e s sin g a n d c a m e ra s e t tin g c o m e to g e th e r th a t s tu n n in g re su lt s a re a c h ie v e d . W ith it s h ig h -e n d m a n u fa c tu rin g a n d p re m iu m p a r t s th e R O E V isu a l L E D p ro d u c t s a re p e r fe c tly su ite d fo r v ir tu a l s ta g e s a n d p ro d u c tio n s . M o re in fo rm a tio n o n : w w w .r o e v is u a l.c o m

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WACKEN WORLD WIDE

had 35 fixtures – all LED due to the heat,” he stated. There were a number of GLP fixtures utilised, including a pair of GLP impression X4 Bar 10s, 10 impression X4 Bar 20s, seven GLP JDC-1S, 21 impression S350s and 11 impression X4s – provided by PRG. The LD went on to explain what it was like for the bands’ lighting directors coming into the space for the first time. “I think there were one or two that were rather confused with the setup,” he explained. “We were surrounded by monitors and screens while sitting just in front of the main performance area. I had to remind any LD coming in to make sure they were working to the actual live performances rather than the video screen – if you looked at the video screens which showed the xR feed, due to latency, you would be behind in timing.”

With two mandatory LDs on site at all times – one working on key lighting and the other working on the overall design – Mark commented: “What was useful from the design standpoint was that we were just in front of the stage, so we were able to lock into the live drums as well as feel the heat from the flames.”

Which brought TPi nicely on the subject of the pyrotechnic element of the show – well, it wouldn’t be Wacken without fire… “There were a number of different companies that came in to provide pyro, which varied from band to band,” he explained, adding that even special effects were able to benefit from the MA Lighting grandMA2 central control. Pyro technicians were able to send a DMX line to the grandMA2 which, in turn, would also

trigger the virtual flames that would be seen in the virtual world alongside the real-life flames.

“I’ll admit, I was a bit uneasy with the flames,” stated Grohe-Zürn. “Not only for the worry about having fire in the confines of so much expensive technology, but that the flames were so bright that in those moments when they fired, it revealed the whole LED setup. Upon reflection, I must admit that we needed those effects, which really added to the show’s aesthetic.”

AUDIO BACKBONE While listening back to the festival, one thing that would have jumped out to many was that although the bands were performing in a studio, the audio sounded as if it had been recorded live, in the open air. Not only that, throughout the show there were a number of times where the sound of the audience would react to proceedings – yet more ways the streaming alternative was able to recreate the Wacken Open Air vibe.

“We went into a lot of minute detail on the audio front,” smiled Wahl, revealing that during Kreator’s set, the audience sound was a recording of the crowd during the German thrash metal band’s 2019 performance at the festival. “It’s something that most people will not notice, but it was a great detail to include.”

The mastermind behind the audio offering of this virtual reinvention was Peter Brandt. Having overseen the broadcast sound for the Faster main stage during the past five years, Brandt was more than familiar with the 28

WACKEN WORLD WIDE

organisers and the music of Wacken Open Air and was eager to collaborate Voßkühler, Project Manager at Riedel Communications. “It opens exciting on this virtual alternative. opportunities for a wide variety of distributed production applications.”

This was far from a simple streamed show, with the entire mix being Brandt added: “Although my core business is live recording on site mastered remotely from New York. “The stereo mix – the plan is to really try to move away from was sent to New York, to our partners at Valhalla using recording trucks on site at festivals,” he studio – owned by the band Manowar – to Ronald commented. “The world is changing and that is Prent, our Engineer, who mastered the sound and why I’ve been looking more into the possibility of added the ambient sounds in a perfect acoustic remote mixing and mastering. We now would prefer environment and gave feedback for the mixes,” to use a studio with proper treatment rather than explained Brandt. a truck. It’s a more effective way to work and it is a “I had to explain to a lot of people that the much greener option.” audio was not being sent over to America,” stated

Brandt hadn’t really gone public until now with Brandt, explaining how Prent was effectively mixing this new workflow, however, Wacken World Wide remotely despite the audio existing in Germany.

“We went into a lot of minute presented an opportunity to show how the remote This meant that if there was a connection issue, the setup works. detail on the audio front… show would continue to play.

As for in the live studio, the audio setup was Integral to this setup was Riedel not too dissimilar to that of a standard festival It’s something that most will Communications, which partnered with Remote control package, with a Yamaha CL5 for both FOH not notice, but it was a great Recording Network and Live Nation to establish and monitors. The package was also provided by this first-of-its-kind transatlantic remote mastering PRG, which also supplied a basic IEM package and detail to include.” workflow. “Working with our partners at Remote wedges. A number of bands brought their own Johannes Wahl, Director of Music Recording Network, we are redefining the engineers to mix the show, with a few being aided possibilities for live audio production,” said Carsten by the onsite PRG audio team. “The engineers’ mix and Theatre, PRG

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for the room was then used as a reference for the mastering,” commented Brandt. “Although it was an empty studio, without an audience, I was keen for the bands to feel like they were on stage,” he added. “We deployed a PA so they got the feel of the speakers and the low end.”

Not only that, but the audio team also had audience mics set up in the studio to capture the room, which was then mixed with the band’s direct mix to portray a comprehensive ‘live’ audio mix. “When you use artificial reverb to try and capture that sound, it just sounds strange,” noted Brandt.

“It’s an old procedure that you would carry out at any live show – many audience mics capture that feel of the room so there was no reason not to do the same for a streamed show. People might feel that if it’s a livestream you don’t need a PA, but in my opinion, it doesn’t sound great – especially when artists are talking between songs – it sounds as if they are in a booth.”

Brandt closed by stating how he thinks that Wacken’s efforts in the streaming world will certainly trigger others to push this concept further. “I admire that Wacken went all out for this project. Even if live events return in the near future, I think this virtual medium will remain. As an industry, we must keep developing and improving technologies and our skillsets with these style of events,” he continued. “It’s also great to give some of our industry some work during this trying time.”

technology in the live events sphere? “I really see this as a separate art form to a traditional live event,” stated Mark. “Not all bands or artists are going to enjoy this type of space, but there are huge opportunities to tell different types of stories with music. It’s not a replacement but something else entirely.”

Grohe-Zürn agreed, but caveated that there can only be a future if the price of this type of show comes down. “It just isn’t viable to do these types of shows as a one-off project,” he explained. “If there was a building that could be utilised by different projects over weeks or months, the prices would certainly drop.”

You can still experience highlights from the festival via Wacken’s official website – to tide over any metal heads out there until we can jump back into the pit safely.

TPi Photos: Danny Jungslund and Melinda Helena Clabes www.wacken.com www.magenta-musik-360.de www.livenation.de www.veedel.media www.prg.com/uk/en www.bertilmark.com www.remoterecording.net www.gripment.com www.trackmen.de

FUTURE OF XR Having successfully brought the new world of xR to the famed metal festival, TPi posed the question to the team – what is the future of this 30

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PRODUCTION PROFILE

FRANK TURNER: LIVE FROM VANS FOR BANDS Having thrown himself into the world of streamed concerts during lockdown, Frank Turner reunites with his band, The Sleeping Souls, for a streamed show to fans across the globe – with the profits dedicated to his loyal touring team. TPi’s Stew Hume reports.

There are few artists in the UK that have taken to the world of streaming in the way that Frank Turner has in the past few months. Interestingly, he seems to have been on the periphery of many of the stories we have run in TPi during lockdown. From a charity stream in aid of the Union Chapel, to jumping aboard the ship for the #WeMakeEvents campaign in London, as well as performing at a government-endorsed socially distanced show in Clapham, London – he has certainly kept himself busy during this uncertain time for the music industry. Throughout lockdown, the singersongwriter has continued to champion those who work backstage.

Case in point was his latest streaming venture – a unique pay-per-view performance with the profits dedicated to his wider touring family.

While many artists have already explored the idea of performing on a black draped stage, taking over an empty venue or a more elaborate LED solution, Turner and his team opted for a less then conventional location – namely the mechanics’ shed of tour bus supplier, Vans For Bands (VFB).

Company Director, Tarrant Anderson – who is also the singer’s bassist and took to the ‘stage’ for this latest live stream – spoke to TPi about the event.

Like most in the industry, the COVID-19 pandemic has had a devastating effect on VFB. “There was a time that we really thought it was going to be the end of the business,” Anderson stated. “As we thought we were coming to an end, we actually made the decision to try to help NHS frontline workers by donating our whole fleet to hospitals, providing a safe place for

frontline workers to take a break between shifts or even get some shut-eye.”

He continued: “Prior to getting involved with this project, we had to go through so much paperwork to make sure all the busses were safe with the strictest of social distancing measures.”

With the infection rate decreasing and the busses returning to the yard – and with a great deal of knowledge on the COVID-19 measures under its belt – the team at VFB had to think of its next move. No longer able to transport artists from venue to venue, the company focussed on providing a space for musicians to broadcast their sets in cyberspace.

“The original aim was to provide grassroots and emerging artists a place to perform livestreamed shows. We often provide transport for bands who just tour with a splitter, and the fact is, those acts do not have the resources to rent out a studio to put on a livestream,” stated Anderson.

The location of the ‘studio’ is in the mechanics’ shed that is usually used to tune up the busses in the VFB fleet. Prior to Turner’s performance, VFB embarked on a pilot run with the band, Jim Lockey and the Solemn Sun. With the knowledge gained by providing busses for hospitals, the company was able to transfer those practices into the performance area, bringing in their pool of in-house carpenters, who typically work on tour busses, to transform the shed into a workable space. “We had the first performance under our belts when Frank got in touch saying that he also wanted to do a show – but with a bigger production,” explained Anderson.

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SETTING THE (SORT OF) STAGE Production Designer, Ali Pike and Production Manger, Dougie Murphy were keystones of the project. “During this time in lockdown, Frank really has been a trooper supporting local venues and making sure their voices are heard,” Murphy commented, overjoyed to be affiliated with the artist. “This latest streaming show was the first project I had been involved with during lockdown, which is just a case in point for the kind of artist he is. He will get a call and just sort himself out with his acoustic guitar.” He was quick to refer to the DIY nature of the artist, which also rang true for VFB project.

“I got a call from Frank at the end of July when he pitched the idea of this show,” continued Murphy. The PM knew from the outset that this was going to be a paid-for stream and therefore required a certain level of production. That said, they had to be mindful of costs and had to ‘make do’ with several older set elements, as well as bits and pieces from around the yard. Thankfully, VFB remains the main storage unit for Turner’s equipment.

“We have recieved support from Adlib, Christie Lites, LeSmurf, Vortex Lighting and Sennheiser – which have provided us with subsidiary gear,” stated Murphy.

Following the event, Murphy reflected on what it had been like to pivot his skills as a touring PM to the world of streaming. “In many ways, it started as a normal gig but, as the date got closer, there was a rather steep learning curve while working on what was effectively a TV schedule and having to consider elements such as white balance and colour correction.

Not that these elements don’t exist in a live tour but, due to budgets and social distancing measures, there was only a small crew dealing with all

the various elements.” In fact, the total crew comprised just three people: Murphy, Ali Pike and Graham Key of Xtrasonic Media, who had the double role of handling the audio mix as well as video director from his OB van outside – more on that later.

The dual role was the same for Pike and Murphy. “I was technically handling the monitor mix as well,” said Murphy, stating how it was very much all hands on deck to make this event a reality. Indeed, the tenacity of the hardened road crew proved useful in transferring to this new medium.

“In a live show, it is all about making snap decisions to ensure the show goes ahead,” the PM said. “You have to produce a performance. With this show, just like a ‘normal’ gig, there were lots of people waiting to see a gig at a certain time and just because they were not physically there, it didn’t take away that urgency.”

Murphy was keen to thank those who worked tirelessly in the lead up to the show – namely, the Set Construction team of Patrick Cook and Alex Prior; Graphic Designer, Evan Cotter; and the Xtra Mile Recordings team, Charlie Caplowe, Dani Cotter and Anthea Thomas.

DIY LIGHTING Pike picked up the conversation, explaining how she designed a show which was to take place in a shed. “The first I heard about this show was when Frank gave me a call,” laughed Pike, commenting how it was far from usual for one of her clients to contact her directly regarding a show. “After the conversion, I came up with some ideas and scribbled down some napkin sketches. I also had Tarrant visit the proposed space with a camera.”

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FRANK TURNER

The Production Designer then went into Capture to build the shed in a light and fader wing – was provided by LeSmurf Lighting, while Pike used virtual world. The stage involved conversations with Kay about the camera her personal MA Lighting grandMA2 OnPc, which she co-owns with Neil shots he hoped to achieve. “I suggested we lose the black backdrop idea Holloway. Adlib provided 18 mic stands, which held the Sceptrons. and expose the yard to embrae where we were filming,” she stated.

There was also a great deal of on-the-fly creativity using various odds Pike went on to explain how she found the experience of lighting a and ends to dress the set – including an old festoon from a previous tour streamed show. “Although I’m primarily a touring LD, I’ve done my fair that was pulled from Pike’s loft. “At 2am the night before the show, we were share of TV work with the like of Saturday Night Live and Later with… Jools still setting up and were trying to work out how to compensate for the Holland. However, those type of shows use manned cameras whereas this lack of depth control on our camera setups,” stated Pike. An early morning one – due to social distancing and budgets – had spark of brilliance from Murphy saw the two drag cameras in locked-off positions.” out an old voile they had from a previous acoustic Due to the lack of crew, Pike found that as well show, which had the effect of blurring out the as lighting the show, she was also having to ride background and putting the band more in focus. the lighting rig as there was nobody on the back “The whole show was very DIY,” she enthused, “With this show, just like a end balancing out what was going on in camera. using the purpose-made Perspex glass – created ‘normal’ gig, there were lots “It was a rather backwards way of working, but a to separate the band in order to adhere to the fascinating challenge. It meant my eyes were glued COVID-19 guidelines – as an example. of people waiting to see a to the monitor throughout rather than the band.”

“As soon as I saw the Perspex screens, I thought gig at a certain time and The rig – supplied by Christie Lites – comprised they were crying out to also be highlighted, rather five GLP JDC1s and 18 Martin by Harman VDO than hidden. I chose to reflect this by putting vinyl just because they were not Sceptrons, along with a Unique II hazer. “Christie FTHC logos onto the screens. After doing some test physically there, it didn’t take Lites Account Hander, Mat Ilott generously cuts with vinyl on my windows at home to prove supported us,” enthused Pike. that no damage would be done to the screens, away that urgency.”

Votex lighting supplied four CHAUVET I sent the idea to Dougie, who mentioned that Dougie Murphy, Professional Ovation F-915FCs. The desk brought his mum had a vinyl-cutting machine. In true DIY Production Manager on to control the show – an MA Lighting grandMA2 fashion, the logos were then cut by Dougie’s mum.”

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FRANK TURNER

CAPTURING THE ACTION the audio and video switching,” Kay commented. “Typically, I would draft Key to the VFB streaming offering from the very beginning was Graham in freelance camera operators for festivals, but due to social distancing Kay of Xtrasonic Media. Kay has been part of the wider touring family for regulations as well as budgets, I’ve had to take on both jobs.” a number of years, taking on the role of FOH Engineer on a number of Kay admitted that having to think in both audio and video spheres cycles. However, even before lockdown, Kay had a side project – namely threw up a number of challenges. “I’m a touring FOH Engineer first and a renovated OB truck. “I think it’s more than 20 years old,” joked Kay, as foremost,” he stated, recalling how prior to putting together the van, he he described how he purchased the vehicle a number of years ago, having didn’t even know what an f-stop was on a camera. However, the ergonomic been sat dormant in a field. Renovating it with setup meant he could have both the audio console some equipment he already owned – such as a and video switcher right in front of him – as well as Behringer X32 – Kay began to offer the truck for Pike balancing the image from her lighting console. various festival dates for clients, including Frank “I started with a blank slate, on the audio front” “I want live touring to return – Turner’s label, Xtra Mile Recordings. he reflected. “Having run FOH for Frank before, I “We parked the van behind the stage and by knew the songs already, so it was fairly quick to my main trade is being a FOH the end of the weekend, Xtra Mile had hours of dial in the mix.” He was quick to complement the Engineer. However, I hope content,” he stated. “The setup in the van is really X32. “It’s certainly an older desk and although it quite basic for both the audio and video, but this would be nice to have a newer model, it has the more people start to see the means it can be used for acts who might not have advantage of having integration into a DAW. This value of streaming and take huge budgets.” has been invaluable, otherwise I would have had Throughout lockdown, as well as collaborating to bring in another control surface.” it forward into the future, with VFB, Kay has also used the van as a recording The desk is limited to 32 channels – although perhaps as another way of studio in his hometown of Durham in northeast there is a workaround to boost it to 48 – but for England to open up opportunities for up-andthe acts that both Kay and VFB are looking at, that getting music out there to coming bands to help them get their material is a high enough channel count. The same model fans.” out to the masses. “What is different about the of desk was also used for the band’s monitor mix, streaming shows at VFB is that I’m handling both which was owned by Turner himself. The cameras Graham Kay, Xtrasonic Media 38

FRANK TURNER

used for the show were Sony PMW-EX1s, along with a Marshall CV502. “The Marshall POV camera has been a lifesaver on this one,” stated Kay. “For all the performances, we have the drummer in a separate area, which is quite tight. The CV502 has such a wide angle, you are able to get a great over-theshoulder shot.”

DICE provided the stream for the fans to watch the show. “They were absolutely superb to work with,” enthused Kay, before diving into the streaming chain created to deliver the content to DICE. “Essentially, we have the video and audio outputs feed into a Teradek video encoder, which then goes to a Teradek Core Cloud server that allows us to do the stream.”

This setup allowed him to aggregate four separate signals across different connections, giving them a high level of redundancy.

sponsorship to help keep the cost down and encouraging artists and management to get in touch if they are keen to put on a performance.

As for the wider conversation of streaming, Murphy gave his thoughts on where it might live alongside touring in the future. “There is certainly a place for this style of show. It’s not going to replace live touring; it could never replace the live show and the excitement of meeting mates – the beer beforehand and the buzz of the live show – but there is certainly a place for this content.”

Kay concurred: “Obviously, I want live touring to return – my main trade is being a FOH Engineer. However, I hope more people start to see the value of streaming and take it forward into the future, perhaps as another way of getting music out there to fans.”

TPi Photos: Matt Nasir www.frank-turner.com www.vansforbands.co.uk www.adlib.co.uk www.christielites.com www.xtrasonicmedia.co.uk www.lesmurf.co.uk www.vortexlighting.co.uk

KEEPING ON ROLLING With the Frank Turner show proving the capabilities of the space, the VFB studio was put to work again with ArcTanGent festival taking over the space for a four-band livestream.

“We’re hoping to keep going with this project until touring returns,” stated Anderson. “It was a simple idea from the beginning, and it continues to be, giving artists who don’t have the budget for a studio hire to get their music out there.” At the time of writing, the VFB team is looking for 39

#WEMAKEEVENTS

#WEMAKEEVENTS

#WEMAKEEVENTS Individuals from the live events industry take to the streets, city centres, towns and rivers, to highlight the issues facing the events sector. In the process of doing so, organisers prove their organisational skills and effectiveness. TPi speaks to those involved in a series of campaigns across England, Scotland and Wales.

The epicentre of the incentive started in London. Created by PLASA, the #WeMakeEvents banner was used for several social media drives since the lockdown began. The underlining message of the campaign is to highlight the uncertain state of the live events sector and that, without serious government intervention, a world-renowned industry which generates billions for the UK economy may not recover.

The campaign called for “meaningful support” from the government until the industry can operate in a way that is not limited by social distancing policies including: grants – not loans – made available to businesses in the events supply chain; an extension to the furlough scheme until the industry is back to work; and an extension of the self-employment scheme, tailored towards the industry.

Following several online events, on 11 August, the campaign moved into ‘Red Alert’. Billed as the final of the day of action, London’s rendition of campaign saw a boat with a number of key members of the live events sector on board sailing down the Thames, passing Royal Festival Hall, the London Eye, the National Theatre and the Tate – which were all illuminated red. As the boat reached key locations – such as Westminster Bridge and Jubilee Bridge – hundreds of volunteers dressed in red and 4,000 socially distanced supporters lined up on the banks of the river. Level 42 frontman, Mark King and folk singer, Frank Turner performed sets on the boat, as it made its way to the Tate Modern, displaying the message: ‘throw us a line’.

Managing Director of PLASA, Peter Heath commented on the incentive: “The live events industry supply chain, essential to every single event in the UK, is set to completely collapse without financial support from the government, due to social distancing prohibiting mass events. Large-scale events are not expected to reopen until Spring 2021 at the earliest, and the reality is that the sector can’t wait that long. While the government’s commitment to provide £1.57bn to our crown jewels is welcomed, this does not help the companies and freelancers who work in the live events supply chain. We’ve issued a ‘Red Alert’ for #WeMakeEvents because the sector is on its last legs, and now the whole industry is coming together to ask the government to ‘throw us a line’.”

On site during the demonstration in the capital was Royal Albert Hall’s Head of Production and Technical, Ollie Jeffery. “Events at the Royal Albert Hall rely on countless suppliers, manufacturers and freelancers, and we will

#London

all need to work together to make the shows of the future,” he commented.

“Many livelihoods across the industry are now at stake and it was both heart-breaking and heart-warming to be part of the industry coming together yesterday to call for support.”

DiGiCo Managing Director, James Gordon, who was also on site, commented: “It was great to see the industry coming together in a controlled way. The aim was to demonstrate the plight of the skilled freelancers working within our industry and the companies in the supply chain that put on the best shows in the world. I think we achieved that, but there’s more work to do.”

Producer of the activities for the #WeMakeEvents campaign, Gary White summed up the day of action: “It is just overwhelming to witness the professionalism and dedication of everyone that was involved in producing this and those people who registered and responsibly came out to be seen and heard peacefully in London and in all regions across the UK.” TPi Photo: PLASA www.wemakeevents.org 41

#WEMAKEEVENTS

#Manchester

Taking place in TPi’s own backyard, 2,000 live events personal gathered for a flight case push that saw the mass of those from the music industry walk over a mile down Oxford Road, from Manchester Academy to the central library in St Peter’s Square in the centre of the city. Pulling the pieces together for this protest were a selection of well-known names from the city’s live events community including; Paul Stevart, Nick Gosling, Chris Snow, Julie Cotton, Ben Johnstone, Jon Drape, Mike Atkinson, Michelle Thompson, Gemma Stansfield and Nick Robinson.

The Manchester protest became the world’s first event in which organisers implemented the Tour Production Group (TPG) COVID-19 Working Guidance. Production Manager, Nick Robinson, together with Ben Dawson as Crew Chief and Flight Case Manager, and Event Trucking Services’ Alex Webster as Transport Coordinator, were on the ground with Production Manager and TPG committee member, Nick Gosling, who helped co-ordinate efforts from New Jersey.

“We brought in Go For Show mobile production offices, which were used by the production, media and creative management teams as on-site communication and planning hubs,” stated Robinson. Gosling added: “We used the guidance to determine how many cases could safely be put into each truck and then unloaded while undertaking the correct social distancing measures.” In addition, the team also adhered to flight case cleaning protocols and implemented the correct PPE while on site at Manchester Academy. dbnAudile and tube uk supplied flight cases, with STS Touring Productions on standby for backup. tube uk also sent a support vehicle in the event of any flight case breakages and for every 40 cases, supervisors with comms were on hand.

Before the march began, TPi managed to grab some time with one of the representatives of the Manchester rendition of #WeMakeEvents –

Melvyn Coote of tube uk. “Manchester has – or perhaps I should say had – a thriving events industry. So, a group of us got together to highlight who we are and to really put across the message that we really need help as we are simply not allowed to work.”

As the conversation continued, a huge gathering of highly skilled and experienced industry professionals from across the city began to form.

“The UK events sector is world leading and it’s on the edge of imminent collapse,” Coote stated bluntly.

As an owner of an audio rental house, Coote spoke first-hand about his experience during lockdown. “We went from a business that had been turning over £1.2million a year to zero. We have done a few smaller jobs in the past few weeks, but with venues operating at such a low capacity, they are all at a fractional price. We are running about 3% or 4% of our regular work at the moment. We don’t really know what the future holds.”

With a full warehouse, the team at tube provided a third of the flight cases that were pushed by protesters, who came in out in their droves – all adhering to COVID-19 guidelines including masks and social distancing.

“We couldn’t highlight our proficiency in putting on events by holding a disorganised protest,” stated Coote simply. “This is what we do, and we have put every measure in place to keep everyone safe.”

The march saw all the flight cases pushed to the centre of town and then collected outside the city library. Once the walk was completed, protesters were asked not to gather in an attempt to avoid a bottleneck of both protesters and the general public. In a very crew-like manner, they got the job done then faded into the background.

TPi Photos: Jack Kirwin www.tubeuk.com www.dbnaudile.co.uk 42

#WEMAKEEVENTS

In Leeds, a collective of crew gathered in the city centre to raise some awareness on the plight of the live events sector. “We filled Millennium Square with 300 people, who were all eerily up lit, 3m apart,” explained Emma Griffith of JP Events Safety, one of the event’s main organisers.

During the city’s demonstration, organisers also welcomed speakers from a cross-section of three industry representatives to speak to the audience including: Owner of Brudenell Social Club, Nathan Clarke; Zig Zag Lighting Managing Director, Neil Hunt; and Helen Tytherleigh, a representative of the Yorkshire freelance community, which has “fallen through the gaps” of UK government support.

“Each gave a powerful, and at times emotional account of how the COVID-19 pandemic had affected their livelihoods,” stated Griffith. “We saw a venue filled with those who not only wanted to fight for their industry, but who were happy to be reunited with friends and colleagues that they hadn’t seen for months.”

Like many of the other demonstrations across the country, those wishing to attend had to sign up to keep control of numbers along with following COVID-19 guidelines including wearing a face covering and using hand sanitiser.

TPi Photo: Paul Nichols www.jpeventsafety.com

#Leeds

More than 400 out-of-pocket live events professionals transformed the ACC and the M&S Bank Arena in Liverpool into a beacon of ‘emergency red’ – projecting alarming statistics that highlight the devastating reality of the lockdown of live events.

With each participant practicing social distancing, protesters gathered in front of the ACC for a photo opportunity for the press in attendance. The Liverpool event began at 9pm, presenting PLASA Events #WeMakeEvents campaign video, projected onto the surface of the M&S Bank Arena.

Adlib Managing Director, Andy Dockerty, addressed those in attendance: “It is imperative that we break decades of ‘being invisible’, start to be seen and find our voice,” he stated. “We generally do what we do ‘behind the scenes’ as we love the experience and thrill of the event but have no desire to ‘be out there’ on the stage. But I think we all now need to be in that spotlight.”

Dockerty commented that it was “uplifting” to see how many partner companies and “rivals” joined together, working as one towards a common goal. He also thanked every organisation that got involved in producing the event, including: eventdesign.co; MSP Global; Lumen Productions; KB Event; TRUCKINGBY Brian Yeardley; and the team at M&S Bank Arena Liverpool.

“It was a humbling moment to witness so many people whose lives have been decimated, and who have serious agendas, being so considerate and observing all the necessary rules and regulations with such diligence,” Dockerty commented after the event. “This is testament to who we are as people.”

TPi Photos: TPi www.adlib.co.uk www.eventdesign.co www.msp-av.co.uk www.lumenproductions.co.uk www.kbevent.com www.mandsbankarena.com

#Liverpool

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#WEMAKEEVENTS

#Hull

Events professionals from Dock Street Events and HPSS in Hull stood in solidarity with colleagues all over UK. Hull Maritime Museum and the City Hall were illuminated red, while 130 events professionals lit their phones red and stood in socially distanced solidarity. The Bonus Arena, the Polar Bear, the Welly and Hull Truck Theatre were all lit up in ‘emergency red’.

Hull’s day of action was spearheaded by MD of Hull stage, sound and lighting company HPSS, Hugh Jones and Managing Director of Hull events production company, Dock Street Events, Chris Clay.

“At this time of the year, HPSS would normally be employing up to 40 freelancers from across the region,” Jones explained. “Although the Job Retention Scheme, which we are very grateful for, has helped, when this stops in October, we will still have no work for these people until theatres and concert halls reopen. If these people leave the industry then, even when allowed, events will not happen.”

Jones initially contacted Clay following a discussion with the national #WeMakeEvents team with the goal of doing something locally. “With my background in event and safety management, he wanted to know if I thought we could gather people in the city centre safely,” Clay explained.

“I was very keen to help, so wrote an event safety management plan, which we discussed with Humberside Police and the local authority, both of whom were very supportive.”

“I spoke to several members of the public on the night and when I explained about the crisis, they were shocked,” Jones reported. “I think some members of the public hear the government say that outdoor performances and now indoor performances can re-start and they think we are OK. Of course, the reality is very different.”

Jones explained how culture in all its forms plays a huge part in the life of Hull. “There is a fantastic grass roots music scene here – companies like Back to Ours and Absolutely Cultured do great public art and community work and there are lots of exciting young theatre companies,” Jones said.

“It boils down to supporting the industry venues, supply chain companies and freelancers to survive until the industry is viable again.”

TPi Photos: Tom Arran, Bolder Visual and Swanland Media www.hpss.co.uk www.dockstreetevents.co.uk 44

#WEMAKEEVENTS

#Nottingham

In Nottingham, industry veterans joined forces to light up some of the city’s most famed venues, including Rescue Rooms, Rock City and Bodega, in ‘emergency red’. There were also a number of speeches and performances from outside the Theatre Royal.

“The reception was great,” commented Marc Reeves, Head Engineer of two of the city’s most popular venues, Rescue Rooms and Stealth. Reeves was one of they key organisers of the event, working alongside Harriet Grace from Accept Management Press and Photography Liaison, and Dave Guy, Technical Director, Theatre Royal & Royal Concert Hall.

“The response was very positive,” continued Reeves. “I know for the industry workers that attended Rock City, it gave them some hope and feeling of some level of control over the situation – which was something I found very moving. I had some lovely messages from people afterwards.”

Over 40 event professionals attended a #WeMakeEvents montage video shown outside Rock City. Outside the Theatre Royal, there was a brief speech and a couple of short performances from local musicians.

OneBigStar, led by Director Steve Yeardsley, also lent a hand to proceedings at the Theatre Royal, lighting the venue in red and beamed the WeMakeEvents logo onto Theatre Royal & Royal Concert Hall. “The community response was positive, particularly out front of the theatre,”

commented Grace, who described how lockdown had affected her business. “My business has essentially ground to a halt. Although there is still lots of work to be done – dealing with cancellations as well as the usual business admin – none requires creativity or, importantly, generates any revenue. It’s now becoming increasingly clear that 2021 is not going to be business as normal either and the strain it is putting on businesses and individuals is immeasurable.”

Reeves concluded: “I just hope that most of Nottingham’s local industry businesses can survive – it’s such a vibrant city in terms of live entertainment. I have so many fantastic memories as a result of that culture, that it’s heart-breaking to see it suffer. The hope is that we can continue to ramp up the #WeMakeEvents campaign and raise awareness for the industry.”

TPi Photo: Stuart Wilde Photography www.trch.co.uk www.onebigstar.com www.dhpfamily.com www.stuartwildephotography.com www.acceptmanagement.co.uk 45

#WEMAKEEVENTS

#Blackpool

Based in Poulton-le-Fylde by Blackpool, rental specialist Arranpaul, was set to commence several festivals, tours and stage musicals when the COVID-19 pandemic struck – rendering the sound, lighting, rigging and staging supplier redundant. “Our phones were ringing constantly with events and gigs being cancelled or postponed,” Arranpaul Audio Operations Manager, Tom Beattie told TPi. “Blackpool is an entertainment town so there are many companies locally who supply the theatres, venues, hotels, and so on that have been hit the hardest following the closure of resorts and entertainment venues overnight.”

The discussion process behind the #WeMakeEvents’ Blackpool event was a last-minute affair – but “executed perfectly”. Beattie reminisced: “I had seen all the events happening across the country and was thinking of attending the Manchester and Liverpool events, when I received a message from Blackpool-based events professionals looking to pull something together in the region. four days later, we were all on site.”

The Blackpool #WeMakeEvents event comprised a range of events specialists in Arranpaul, Intrak, H3 Hire, Asets UK, Stageworks WWP, Grazity, Six15 Events, SBFX and PROLIGHTS. Venues across the region such as the Winter Gardens, the Grand, Marine Hall, Lowther Pavilion, and Viva were illuminated ‘emergency red’ in support of the joint #LightItInRed and #WeMakeEvents campaign.

“It was a very simple idea, we had a small stage truck with an LED screen to present the PLASA videos,” Beattie explained, along with over 80 battery-

powered LED uplighters, made up of CHAUVET Professional QWash, LEDJ, PROLIGHTS, ADJ RXONE Beams fixtures. Among the poignant scenes was the arrival of Astera battery powered Titan Tubes configured to spell the word ‘help’ as well as 40 flight cases for attendees and passers-by to sit on or stand by in a sign of solidarity. “We always had in our minds the drone shot panning over to the tower.”

Thankfully, the Blackpool Council and the local community were receptive of the efforts. “A special mention to Chris Pope [Blackpool Council] for his help,” Beattie reported. “Blackpool is an entertainment town, and we want to keep it that way when we come out of the other side of this.”

For Beattie and the wider events community, the event was a reminder of the issue at hand. “It has been said many times we are a self-sustainable industry in ‘normal’ times, but this is far from that, we need help until we return to normality. Or it’s going to be a very dark and quiet show when events do eventually return.”

Looking to the uncertain future as a company, Beattie explained the firm are constantly “crunching figures” to survive this dire period. “We will follow PLASA’s lead in phase two, three and four to help drive our campaign home.”

TPi Photo: Loo Stickland www.arranpaul.co.uk 46

#WEMAKEEVENTS

To show its support for the #WeMakeEvents campaign, TechLED bathed Production Park, including the Studio and Rockpool Café, in the #LightItInRed campaign’s signature colour, ‘emergency red’. TechLED’s MD, Gordon Addison, once again turned to the power of Prolight’s LEDJ Spectra QX40 Pixel exterior fixtures to illuminate the buildings.

Addison commented: “We would like to say a massive thank you to all our customers and everyone who came together to highlight the devastating situation faced by the whole events industry. It’s of the utmost importance that the government’s proposed care package reaches all aspects of the events industry and the plight of our industry is acknowledged and addressed.”

Production Park’s Jack Scarr, added: “At Production Park, our focus and concern are for freelancers and small production and rental companies, like TechLED. They cannot work now due to the current restrictions on mass gatherings. They need support in the form of grants not loans, and a sectorspecific furlough scheme. Their survival is vital so they can continue to create incredible experiences for event-goers – which would not be possible without them.”

TPi Photo: TechLED www.productionpark.co.uk/companies/tech-led

#Wakefield

to the larger cities in the UK, but The Forum is one of those venues everyone has played because we’re a tiny town which touring artists visit before becoming Glastonbury headliners.”

Technical equipment was supplied by EM Communications and SRD Group, and comprised a 10K video projector to project a PLASA Events #WeMakeEvents campaign video along with BECTU stats on an 10m by 8m screen, which was later cut to a live feed of the London event courtesy of a Roland Vision mixer, sounded out by a pair of QSC active loudspeakers, a Soundcraft mixer, a Shure Radio mic, and illuminated in ‘emergency red’ by six 120W LED lights.

“We made a brief speech with just under 300 people turn up, as well as a local make-up artist who body painted a few people, while adhering to COVID-19 secure guidelines and procedures,” Hemming explained.

“We invited local press and councillors; it was received very well but the problem is the wider community and the UK government don’t realise the severity of the crisis the events industry is currently facing and how big and profitable the industry is as a global enterprise.”

With several industry insiders residing in Tunbridge Wells, Hemming recalled the sense of “togetherness” in the community. “The spirit was wonderful and it’s a shame it’s being done for such desperate reasons. It’s OK saying we can have socially distanced events now, but the promoters are worried that the government won’t underwrite or rule out the possibility of a local lockdown, which they have for holidaymakers.”

TPi Photo: We Make Events Tunbridge Wells www.rhconsulting.eu www.emcommunications.co.uk www.srdgroup.co.uk

#Tunbridge Wells Thirty miles south-east of central London in Tunbridge Wells, the local events community decided to light local venue, The Forum, a small 250-capacity standing venue which has seen the likes of Green Day, Coldplay and Adele play over the past decade. Speaking to TPi about the event was Audio Consultant at RH Consulting & Director at Copper Leaf Media, Roland Hemming.

“We put this together without really paying attention to the rest of the national campaign.” he reminisced. “We were the baby event in comparison 47

#WEMAKEEVENTS

#Edinburgh

Professionals from all corners of the Scottish events industry gathered at Edinburgh’s Nelson Monument and Acropolis of the North, which were lit in ‘emergency red’, while lasers fired the #WeMakeEvents logo onto the surface. The event also showcased a number of aerial acrobatic performances – all of which was compiled into to video edit released after the protest by Gabriel Stella of Ghosthouse Media.

Protest organiser, Miriam Wolanski of Wolanski’s Pole & Aerial Fitness, handled the rigging and creative demonstration elements.

Wolanski was originally contacted by London Union of Venue Technicians Representative, John Rogers to join the #WeMakeEvents campaign.

“The PLASA campaign was underway but they found there was no representation for technicians in Scotland,” Wolanski said. “I reviewed the campaign details and felt it warranted alignment. I took the question back to the Scottish Events and Technicians Crew group and within 48 hours of asking people if they’d like to take part, I had over 150 positive responses.”

Aiding Wolanski in the organisation of the event was Freelance Event Safety Advisor, John Diamond; Funktioncreep’s Andy Stentiford; Nigel Marett; Laser Tech and Projectionist, Sophia; Production Manager, Shane Grieve; Black Light, and Blue Parrot Theatre & Live Events’ Patrick Watson.

Andy Stentiford and Production Manager, Shane Grieve, worked on lasers and the operations for the lighting of the structures along with their crew. Wolanski oversaw attendees and stewards and worked with the

police to ensure guidelines were adhered to. “We had great support from administration wizard Ben Stimpson,” she continued. “Usually a freelance lighting technician, he worked on everything from registrations to assisting with press contacts and helping me field social media.”

Attendees were capped at 200, with an additional 20 crew to facilitate the event. The team successfully delivered a poignant message all without causing any inconvenience to the public.

Summing up her experience of the #WeMakeEvents Scotland campaign, Wolanski said: “It was overwhelming to see so many people pull together to create a demonstration in such a short period of time. We know from the volume of people who were emailing after the registration was full that that they were disappointed that they could not also be there.”

She added: “The numbers for support were far higher and we all want to thank every one of them for respecting the guidelines, which helped us work with the police, the council and in-keeping with all of the safety procedures in place.”

TPi Photo: We Make Events Scotland www.miriamwolanski.com www.funktioncreep.com www.black-light.com www.blueparrotevents.com 48

#WEMAKEEVENTS

#Cardiff

In the Welsh capital, 18 of the city’s famed music venues, from the Motorpoint Arena down to the grass roots venues on Womanby Street, were lit in red with over 200 people attending the various locations to stand in solidarity for the live events sector.

Key to the event’s success were Stage Lighting and Sound Services, SC Productions, Figure of Eight, Freelance Tech, Amy Liddington, Nia Jones PR; 2Can Productions, Magnum PA and Tantrwm Digital Media.

Sarah Hemsley-Cole of SC Productions picked up the story: “Phil Hurley, Stage Lighting & Sound Services asked me to join him in the Cardiff delivery and, following a Zoom call, we began pulling all the pieces together. We drafted in some of our furloughed staff and a friend who works in press and PR in the arts and together we moved forward.”

The organisers also contacted colleagues across the country, as well as suppliers and venues across South Wales. “We wanted to deliver within the Welsh Government guidelines regarding gatherings – hence the clusters of no more than 30. We wanted to prioritise the photos of the people as well as the buildings,” Hemsley-Cole stated. She added that Cardiff Council was on board from the start. “The council owns several of the theatres in the

city, and it was fully supportive of facilitating the lighting up in red on civic buildings. The reaction was extremely positive and lots of people were taking our pictures. We have had great coverage in the Welsh media in both the English and Welsh languages.”

To close, Hemsley-Cole looked to the future, drawing positives from the protest: “We are planning a social event when the numbers we can gather in increases, as a means to support individuals who are financially and emotionally vulnerable. One thing #WeMakeEvents gave us was a real sense of all being in it together and the strength of seeing each other and meeting new faces was extremely humbling.”

TPi Photos: We Make Events Cardiff www.stagelightingservices.com www.scproductionsltd.com www.figureofeightevents.co.uk www.2canproductions.com www.magnumpa.com www.tantrwm.co.uk 49

CHANGING HATS

CHANGING HATS In a bid to adapt to the ‘new normal’, accomplished touring professionals pivot their skillsets to cater for alternative employment opportunities, as TPi’s Stew Hume and Jacob Waite discover…

LIGHTING DESIGNER, BRENT CLARK Having spent 35 years in the live events industry – the past 15 years touring with Stereophonics as well as stints with Barenaked Ladies, The Tragically Hip, and Sarah McLachlan among other performing artists – Lighting Designer, Brent Clark is among the handful of touring veterans inside the ‘NHL Bubble’ in his newfound role as Lighting Programmer and Operator of NHL matches, following the widespread lockdown of live music events.

The last time Clark graced the pages of TPi was at Manchester Arena in March 2020, in the days preceding the global lockdown of live events, as Stereophonics hit European and UK venues in support of their seventh UK number one album, Kind. Following a series of gig postponements and cancellations, which eventually landed him a gig for the NHL, the Ontario native sat down with TPi to reflect on a whirlwind six months.

“I was in Cardiff finishing the last Stereophonics show, when the lockdown came into force. It was surreal. I don’t think it really impacted me for a few weeks. I thought it would be a few weeks of shutdown or maybe a month. I didn’t foresee it happening to this extent,” he began. “My heart goes out to everyone and I have been donating to food banks and crew funds to try to help. I was very fortunate that Stereophonics took very good care of their core crew, so I wanted to share a bit of that love.”

Coined as the ‘NHL bubble’, the crew reside in three hotels with walkways to the venue. “You cannot leave the bubble for any reason and nobody can come into the bubble without being quarantined,” Clark noted. “We have daily COVID-19 checks and our temperature is taken and monitored every 12 hours. Above all, face masks and social distancing are mandatory for everyone.”

The NHL matches marked the touring veteran’s return to on-site activities, after months of career exile. “It has been a very emotional experience for me – I can’t believe how lucky I am to be able to get back to work,” he commented. “There are way more creative and talented individuals who are more competent than I am, who are still sitting at home, 50

CHANGING HATS

so this post is absolutely not taken for granted, and its importance isn’t lost on me each day.”

Joining Clark in lighting world in Edmonton, Canada, was Kurt Wagner, a veteran of the industry with over 35 years’ experience touring the world, the past 15 years spent as Michael Bublé’s LD. “We had just finished the New Zealand and Australian leg of Michael Bublé’s world tour prior to lockdown,” Wagner reminisced. “I’d just got back from Oz three days before everything went sideways. I knew it was going to be a challenging time for some time to come.”

According to Wagner, despite the global pandemic, his workflow remains the same – other than being tested every day, with temperature checks taking place every 12 hours, all while donning a face mask. Having worked for Vancouver Canucks, the LD was an old hand at NHL games. “The hardest thing is being locked down in the bubble and not being able to go for a hike in some green space,” he added.

In the stadium, Clark pointed out a “huge wall of lights” that span the circumference of half of the sporting arena, with 16 vertical towers spaced in between a main stage and six video screens. “There is no real ‘artist’ other than the team, so we make sure the rig reflects the team’s colours.”

The fixtures of the Solotech lighting rig included 32 Robe Robin Pointes and 18 Robin 1200 Washes, four Vari-Lite VLX Washes, 160 LTQ Solaris Flares and 13 Solaris Flares, 88 GLP X Bar 20s and 82 GLP impression X4 Bars, 96 Claypaky Sharpys, 24 Claypaky Scenius Unicos, 40 Claypaky B-EYE K20s,

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and 42 Elation Professional Elar Pars, with a trio of MDG The One hazers providing atmospheric effects. The house rig comprised eight CHAUVET Professional Rogue 2 Spots, 20 R2 Washes, 16 R2 Beams, 32 Martin by Harman MAC Quantum Profiles, 12 MAC Quantum Washes, a pair of MAC III Profiles, as well as 10 Atomic LED Strobes.

For control, Clark operated on an MA Lighting grandMA2 full size and a grandMA2 light. Due to the nature of the event, the LD utilised a handful of cue lists for the openings. “Other than that, it’s a big busk page and I just follow along,” he said. “We run lights for the opening video sequence and in stoppages, but a lot of it is just sitting back and watching the games.”

As well as lighting the way for a series of NHL fixtures, Clark explained how else he was staying busy in lockdown – by learning and enhancing his pre-existing video editing skills. “I have also been working on some ideas and I keep working on my drawing skills. I now have a surplus of staging and lighting ideas if anybody is looking,” he explained.

“I am hoping to be back at regular life by Spring, but that seems optimistic at this point. I know a few of the artists I tour with regularly have plans for next summer, so my hope is that we can get back to work next Spring, where we’ll all be complaining about having too much work to do!”

TPi Photos: Brent Clark & NHL www.nhl.com www.lightingdesignbybc.com

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CHANGING HATS

PRODUCTION MANAGER, RICHARD YOUNG

A familiar name within the touring world, Richard Young has worked with the likes of Adele, Radiohead and P!nk. However, since the lockdown, the accomplished PM has begun repurposing his skillset, delving headfirst into the world of live streaming.

Young recalled where he was when the lockdown came into effect. “I was on tour with The 1975 having just finished the last European show in Dublin,” he reminisced, going on to explain how he and the team were in the midst of packing sea containers for a scheduled US run. “We got the call saying not to put anything on the boat and the rest, as they say, is history.”

With all touring put on pause for the foreseeable, Young began searching for projects in lockdown. The solution came when the team at Creative Technology got in touch to discuss their venture into the streaming word – UNITY. “Graham [Miller] and I always stay in contact and he floated the idea of the UNITY project way back in March,” stated Young. With lockdown escalated and the ever increasing rules put in place creating a challenging environment in which to build on a streaming studio, the PM began to doubt if they would ever get to complete the project.

“However, after some careful scheduling and workforce management, I was officially asked to participate in April,” Young explained. UNITY – which has been setup to give musicians a space to perform and broadcast to

their global fan base, now sees Young taking on the role of Production Manager for the venue. “As the space is fully equipped with touring-grade production, my role is to cross over from venue guy to working closely with the artist to ensure their needs are met without the need of bringing in additional gear,” he said. This means advancing, scheduling and being the conduit for rider info between visiting teams and the in-house crew.

As well as the usual responsibilities, Young was also one of the key enforcers for social distancing and reminding everyone of the importance of keeping safe on site. “All of my clients have done TV specials, so having the camera as the audience is not new,” stated Young, describing his transition into the new realm. “But with the added layer of working in a COVID-19 secure location is a new element that I don’t think anyone has had to deal with in such a real way.”

To close, Young shared his thoughts on how livestreaming may manifest in the future. “The experience of performing in front of a live audience is never going to be replaced. However, as people find ways to monetise streaming, I can see it being mashed together with the live show,” he mused. “Much like the opera does now, and we might see gigs being syndicated like pay-per-view.”

TPi Photos: Creative Technology

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CHANGING HATS

VIDEO DIRECTOR, BLUE LEACH

Also lending his hand to the UNITY project is Video Director, Blue Leach.

The Director explained to TPi what he had been up to prior to lockdown.

“I managed to get to Sao Paolo to direct a festival performance for Kylie,” he began. “It was magnificent as most of those Brazilian shows tend to be – noisy and an appreciative audience. Sao Paolo was very low risk then, early March but we were being very cautious, washing hands thoroughly and always carrying sanitiser.”

Leach flew to New York to start rehearsals with Pearl Jam. However, an email arrived after the first day notifying the crew that the tour would not be going ahead and, before he knew it, Leach was back home in the space of a week instead of on a solid seven-week tour with band. “I had also been looking forward to working with Sting this year for his Las Vegas residency,” he reported. “It’s a special year when gigs and tours fit perfectly into the March to November window – it was a cake and eat it period but, one by one, those cakes got taken away...”

With his gig plans wiped from his calendar, Leach began talking with the Creative Technology team about UNITY. “I have done quite a few live streams over the years and I’ve always really enjoyed the process,” he said.

“I like how immediate it is – no editing, live cut and what you see is what you get. Everyone is on their toes and it’s maximum effort by all.”

He explained the main skills he had been able to bring over for the live touring sphere into the streaming world – namely his experience in editing for IMAG. “What is important to remember is that IMAG directing and vision mixing is non-editable. When it leaves my fingers, it’s gone, so it better be the best I can do. I like that pressure and excitement.”

He clarified that a rush is also attainable in the streaming world. “We all know how live shows affect us all, which is why there is an essential innate need missing from our world right now. This is not only a vocation but gives you the purest of pleasures, helping to entertain bazillions of people

around the planet. This is the immediacy of both live streaming a camera cut of a performance and directing an IMAG show. For me, it’s about as exciting as life gets!”

Clearly excited about the prospect, Leach described some of the projects he was looking forward to in UNITY. “In the space each show can be personalised, bespoke and a one-off,” he explained. “I think that the key thing is keeping the experience gig-like rather than a sterile and identical one-size-fits-all sensation. Life doesn’t follow that pattern and everyone’s different. Their messages, poetry, music, performance, behaviour, body language is as irreplaceable as DNA. Accordingly, there are always methods to create a nod to each mood, song, and personality. I’m looking to do more at UNITY and having fun with themes.”

In closing, Leach described the space in the market, which he believes streaming could fill upon the return to traditional live events. “We will be working alongside more streaming faculties on the road,” he asserted, which he was keen to emphasise was a positive move. “This means more opportunities for audiences to experience a show while it’s happening rather than after eight weeks.”

Although he explained his “love” of editing concert films, the opportunity of streaming presented a huge opportunity for the industry.

“Unlimited tickets can sell around the world and give greater interactivity.

Streaming expands any venue exponentially past its capacity and the size of the camera package can expand and contract, making it very adaptable, versatile and budget friendly. I have so many ideas how this can fit alongside a tour, big or small – it’s all very exciting. Like a live video and audio bootleg - visceral and immediate.”

TPi Photos: Blue Leach, Creative Technology www.examinationproductions.com 54

CHANGING HATS

LIGHTING DESIGNER, TOM CAMPBELL

Award-winning Lighting Designer, Tom Campbell has thrown himself into several streaming projects during this strange time. “Right up until lockdown, I was on tour with The Subways,” reflected the LD, discussing how his last few days before the government-announcement lockdown.

“We did a gig at Manchester Academy and, as we loaded-in, we got the feeling it was going to be the last gig of the tour – and after sound check, we had the official word that the rest of the tour had been postponed.”

It wasn’t long before the creative cogs began to turn. “The ideas of my first streamed show came in relatively quickly from a band called Sylosis,” he reported. “They were supporting Trivium for an online show and, as I had worked with them on a video shoot in the past, their manager gave me a call and we started throwing around a few ideas.”

The shoot took place at Liteup’s facility, a space often used by Campbell and the wider Mirrad lighting team. “The one thing I will say about this type of streaming show is the opportunity it gives support acts to put on a bigger show,” stated the LD. “As we all know, support acts often don’t get full run of a stage or even the lighting rig. However, for the Sylosis set, we were effectively allowed to put on a headline performance with an LED screen as well as the hexagonal set pieces we had made for a previous run.”

Although the world of streaming is currently expanding, Campbell explained that over the years, he was already used to putting on shows with one eye on a monitor. “Personally, I always light for both stage and

the camera when both are being used.” He recalled his excitement for the opportunities that steaming could open for production designers. “The fact is, you can do more with a camera lens then you can do with the naked eye and there are multiple options out there to do some amazing effects for the audience at home,” he stated.

Campbell is also a proponent of the opinion that streaming can coincide with a live tour when the events sector opens. Although he was quick to point out that some work still might have to be done into finding more effective ways on monetising the medium.

“That said, it’s been really inspiring to see what others in the industry are doing during this time. We are a creative industry and people have really thrown themselves into other projects, from protests to other forms of entertainment. Even in this time, I have set up another company, which I hope to announce soon – it’s all about keeping busy.”

TPi Photos: Tom Campbell www.tclightingdesign.co.uk

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PRODUCTION FUTURES

Production Futures City, University of London Major Event Management students reflect on learning in lockdown and hosting a virtual conference featuring a series of industry insiders…

Cristina Barone and Priyanka Gundecha.

Courses Facebook page. The speakers comprised an “eclectic bunch”, in Devine’s words, of familiar industry insiders including: Music Venues Trust’s Niall Forde; National Museum of Wales Event Manager, Mared Maggs; Tour Music Live MD, Trevor Williams; Ginger Owl Productions’ Helena King; Tickets.com Australia’s Brendan Carroll; COP26’s Mark Malone and Nikoo Sadr of Rum Shack, part of Glastonbury’s online events.

“When COVID-19 hit, it was hard to adjust to the change from in-person contact, to building working relationships online, however, the weekly online lectures ended up being a great, productive escape,” said student, Cristina Barone.

During the webinar, Barone assessed the comments that were sent in by the viewers and communicated them to the panel ahead of the Q&A section, near the end of the event. “Professionals in the industry are very happy to give their time to helping others who may be at the beginning of their career, or not as far along in their career as they are,” Barone reported.

“We had such a great panel of professionals who are at the top of their game, and it was a real privilege to have them take part on a panel that was arranged by a group of short course students.”

Fellow student, Priyanka Gundecha, was tasked with the role of booker for the webinar, which involved sending out invitations and liaising with the guest speakers during the planning process. “We were very fortunate to have a panel of highly experienced event professionals and it was incredibly beneficial for us to hear their thoughts and how their sector of the industry is currently coping,” Gundecha said. “A key takeaway from the webinar was the panellists’ reassurance that the industry will overcome hardships and that events will be back.”

Despite the uncertainty surrounding events in a post COVID-19 world, Gundecha believed that gaining as much experience as possible is vital to not only expand and develop transferrable skills but to also set yourself apart from other prospective job applicants in the future. “Whether it is completing courses or volunteering at events, I believe that every experience is valuable and can make a difference,” she said. “As you gain more experience, you also continue to network and build relationships with other industry professionals. It can be very disheartening when dealing with job rejections, but I would advise to keep persevering and sending out applications, as someone will eventually say ‘yes’.”

Equally, Barone believes the biggest barrier to breaking into the fiercely competitive events sector is experience, as with most creative industries.

With the next generation of events professionals adjusting to the ‘new normal’, introducing new talent to the industry and how live event students are completing their studies without live events has become a topic of paramount importance among university course leaders and prospective students. For the past 16 years, Lecturer, Liam Devine has taught a 10-week evening course in Major Event Management at City, University of London and, despite the plight of events calendars given the current pandemic landscape, six students joined forces to organise a real – albeit virtual – event to mark the end of the course.

“We discussed how we would do it and when term finished, six students decided to take it upon themselves to produce it for real,” Devine told TPi. “They’ve worked pretty much flat out on it in their spare time ever since.”

The end result was a discussion between leading event professionals from a range of fields about how COVID-19 has affected their events to date, what comes next as the country cranks back into action again over the next few months, and what they think the long-term effects will be on the industry. Held on Zoom, the meeting was livestreamed to the Uni’s Short

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PRODUCTION FUTURES

“A lot of companies want to hire people with experience, but how can you get experience when people won’t give you the opportunity to gain it?” she hypothesised. “More companies should be giving a living wage and paid opportunities for people to start their career and gain experience.”

Despite the lockdown of live events, learning resources are at a premium. Gundecha has spent lockdown completing online courses in order to develop her skillset and knowledge. “I am constantly inspired by my colleagues, mentors and friends in the industry, who motivate me to keep learning and improving. I am continuing to complete online courses and am exploring new job opportunities now. In five years’ time, I hope to still be working in film and entertainment PR, and contributing to the delivery of creative, memorable and effective publicity campaigns.”

Asked where she saw herself five years from now, Barone said: “I would love to be working in events still, and my dream would be to work on music festivals or tours.” At the time of writing, the webinar has over 3,500 views

and is still available to watch on the City, University of London, Short Courses Facebook page.

“The event was a big success,” Devine enthused. “Event Management students across the UK, including students from Plymouth University and Leeds Beckett University, tuned in to ask questions.”

The Major Event Management course starts again on 29 September and is now open for bookings. “Completing this course at City Uni was a great experience, during which I enhanced my knowledge about the key elements within the planning and implementation process of major events, such as budgeting, risk management and sales,” Gundecha concluded.

The webinar is available to view on the Facebook link below.

TPi www.productionfutures.co.uk www.facebook.com/cityshortcourses/videos/313570556366578 www.city.ac.uk/study/courses/short-courses/courses/major-event-management

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INTERVIEW

CAR PARK PARTY Technical suppliers unite to present the ultimate drive-in entertainment experience to car parks across the UK – spearheaded by Coalition Agency Founder and CEO, Guy Robinson.

TPi’s Jacob Waite goes behind the screens to find out more…

Hailed as a safe, socially distanced entertainment solution in the wake of the COVID-19 pandemic, drive-in shows have proven popular both in Europe and the UK, integrating concertgoers back into the live events realm during an uncertain summer. One such event is the aptly titled Car Park Party which, in partnership with The Comedy Store, Massaoke, and Horrible Histories Live on Stage, presents an American-inspired theatre, karaoke, and comedy experience at car parks across the UK. During an incredibly difficult time for the entertainment industry where work is scarce, Founder and CEO of live talent company Coalition Agency, Guy Robinson, a stalwart of the sector having represented artists such

as Nick Grimshaw, Greg James and Ministry of Sound – as well as owning music and entertainment brands such as Sara Cox presents Just Can’t Get Enough 80s, Jo Whiley’s 90s Anthems, and Ministry of Sound Classical – has cut the tape on the brand-new drive-in concept.

Based in London, Coalition Agency was preparing for a number of summer tours including BBC Radio 2’s Sounds of the 80s Tour and a brand new project called Club Tropicana, which was due to be at all the Rewind Festival sites across the UK, when the lockdown of live events was enforced. “As anyone in this industry knows, the COVID-19 pandemic has been a total disaster and has meant taking some very tough decisions with 58

CAR PARK PARTY

Coalition Agency Founder and CEO, Guy Robinson.

the business including reducing staff numbers significantly,” Robinson said.

“We didn’t want to sit on our hands and wait it out, so we developed Car Park Party to keep the wheels of the business rolling as much as possible.”

The idea came to the fore during a creative call at Coalition Agency HQ. “Following the crisis, news broke that there were car park raves held across Germany and mainland Europe, and that’s when we pushed forward with the project, partnering with The Comedy Store, Horrible Histories Live on Stage, and Massaoke,” Robinson reminisced. “Karaoke was the starting point of this project; we love James Corden’s Carpool Karaoke content, and thought it would be fantastic to replicate that setup in front of a live band.”

The result promised a “fun-filled experience”, showcasing Car Park Comedy, Car Park Karaoke and Car Park Theatre, for friends and family to enjoy. “The UK’s top comedic talent is supplied by the world-famous Comedy Store, with live music returning to outdoor venues in the form of a spectacular singalong concert from The Massaoke Band, all to be enjoyed from the comfort and safety of your own car.”

Speaking to TPi following two days on each site, delivering six shows across the weekend to a total capacity of 1,800 cars, Robinson was

overjoyed with the positive turnout over all the sites. In particular, he referenced a show at Henley-on-Thames, which was extended to three days due to popular demand and welcomed over 2,400 cars throughout the weekend. “Attendees only need to leave their cars to go to the toilet or visit the catering concessions, and shows were kept to an hour so that most could happily stay in their cars for the duration.”

Helping make the event a reality were a host of trusted technical suppliers including: ADI for LED screens; Event Traffic Control (ETC) for site management and car parking; Event Sound & Light (ESL) for sound and light; as well as PTL for toilets.

“With many concerts and festivals being cancelled or postponed over the coming months, Car Park Party provides not just an evening, but a whole weekend to look forward to, as well as jobs for those working in the entertainment industry during this difficult time where work is scarce,” Robinson explained. “We have longstanding relationships with most of the suppliers involved, all of whom are fantastic.”

As well as adhering to COVID-19 health and safety guidelines and procedures, such as disinfecting equipment and crew bubbles, social 59

CAR PARK PARTY

distancing was a key focus from the outset. “The small team of crew were continued. “We didn’t take advantage of the crisis, paid as much as budgets truly respectful of that throughout the tour,” Robinson stated. “The toilet would allow, and all shows were delivered to the highest standard.” facilities were managed carefully, as were queues for catering outlets, and Of paramount importance, Robinson said, was the feedback from there was more hand sanitiser on site than anything else.” attendees. “Having put on events for 25 years, it’s very rare you get an email The team were also careful to work with sites that have permanent or social media post of thanks, but not so with this,” he enthused. “We’ve licences in place and, for the most part, SAGS were supportive. That said, had so much positive feedback, thanking us for doing something fun during it wasn’t all plain sailing. “We had to cancel shows planned for Manchester such challenging times. It makes the sleepless nights worthwhile.” and Birmingham due to challenges by the Environmental Health teams,” After the enforced hiatus from events, the team were pleased to deliver Robinson recalled. “It was a huge pity to not be able comedy, theatre and live music to car parks across to go ahead with either of those shows.” the UK following the pandemic. “We’re incredibly Robinson also explained that getting FM proud of what we’ve achieved, but we can’t wait to licences in place with Ofcom, despite being made be standing in fields again next summer,” Robinson easier with shortened lead times, was still a concluded. “While it’s been a great learning curve, challenge. “Asking customers to tune their radios and we are hugely grateful for the customers, accordingly kept us busy when the events were with whom fantastic new relationships have been “While it’s been a great running,” he recalled. “Despite mixed weather formed, overall, we have lost money because sales learning curve, and we throughout, all the sites worked well and logistics, fell short of expectations, and ultimately costs were largely thanks to extensive planning by Event Traffic too high. That said, I guess we must have enjoyed are hugely grateful for the Control, were flawless.” it, because we’re back this December with Car Park customers, with whom With the entertainment industry fast adopting Panto – you heard it here first!” virtual events in order to maintain social distance TPi fantastic new relationships and events becoming increasingly accessible to the Photos: Coalition Agency have been formed, overall, masses thanks to the lower price point, Robinson www.carparkparty.com sought to carve out employment opportunities for www.coalitionagency.com we have lost money events professionals who found themselves out of www.massaoke.com because sales fell short of work and out of pocket. www.horrible-histories.co.uk “We’re a truly entrepreneurial bunch at www.thecomedystore.co.uk expectations, and ultimately Coalition, and our motto is ‘none of us is as good www.adi.tv costs were too high.” as all of us’, so getting as many of our team and www.eventtc.com extended network back to work was important,” he www.eventsoundandlight.com Coalition Agency, Guy Robinson 60

9-13 November 2020 A week of engagement with the Live Events Production Industry For more information please contact: h.eakins@mondiale.co.uk

www.productionfutures.co.uk

INTERVIEW

‘WE HAVE NO SUPPORT’ A TOURING FAMILY FACING CAREER EXILE Five months into the lockdown of touring productions, an engaged couple of freelance sound engineers now out of pocket with a young family to feed face an uncertain future with no government support. TPi’s Jacob Waite reports…

Before the lockdown of live events following the COVID-19 pandemic, Jennifer Grace Rhodes was a fresh-faced freelancer specialising in live sound. Her fiancé, Rob Priddle, a veteran of the touring industry having spent 20 years as a freelance audio engineer, was working full-time as a Project Manager until he was made redundant. Together for almost five years, the couple now face their biggest challenge to date – financial uncertainty with a young family to feed and no government support.

Rhodes shared her story with TPi: “Rob ignited my passion for live events,” she began. “You can’t help but get dragged into this industry when you have a partner who works away for the majority of the year… and the more I got involved, the more I fell in love with its idiosyncrasies.”

A couple of years ago, the couple sat down and decided to brainstorm a pathway for Rhodes to gain professional qualifications in audio engineering. “I enrolled on an intensive course at SSR (now Spirit Studios), specialising in audio and PA for the live events industry, which I passed with a distinction in March last year.”

Previously an accomplished Kitchen Planner for John Lewis, following her graduation, Rhodes handed in her notice to embark on her first year as a freelancer. “I did a lot of free work for around eight months, doing anything in audio. With Rob working in the industry, I was able to get directly involved with stadium tours,” she said, sharing her experience, which includes dual roles as PA Tech with Krept and Konan at Ally Pally 62

ROCKPOOL TOUR CATERING

Jennifer Grace Rhodes and Rob Priddle.

and the O2 Arena, London with Stormzy, as well as several tour dates with Labyrinth and drive-in shows with Noah Cyrus.

From there, Rhodes began to branch out as a freelancer, earning paid work in December, and then, with a few months of work under her belt, the crisis struck. “It was frustrating because I had a full year of events planned on my calendar, including Bradford Literature Festival, who told me not to come in following my first day due to the pandemic, and everything from March onwards died overnight.”

Visibly distraught having given up a career, pension, her entire life for the industry, Rhodes explained: “I’d visited a project manager at Capital Sound who wanted to take me on for a few shows before the crisis, and I felt as though I was making good strides as a freelancer, and then all of a sudden that was it,” she underlined. “Game over.”

With an 18-year-old, a 10-year-old and a five-year-old, and a fiancé on furlough under one roof until the foreseeable future – it became apparent that Rhodes would have to find work elsewhere. “It’s been challenging because my work finished first, while Rob began assisting staff transition to a WFH setup before being furloughed and later made redundant.”

With the influence of family members who worked for the NHS – an organisation crying out for assistance – it seemed like a guaranteed area of employment for Rhodes. “I applied for more than 80 jobs, and I managed to get one interview, which landed me a job as a ward clerk in Rochdale Infirmary, which just so happened to be on a clinical assessment unit with COVID-19 patients,” she said. “We are a red ward, which means we have a lot of COVID-19 patients, who we look after – some successfully, and some not so successfully. Death has been quite a large part of my life in lockdown.”

A series of unfortunate events followed. On 5 May, the young family contracted COVID-19. “We had a positive test and Rob suffers from asthma, so while I recovered from the horrendous symptoms in 10 days, it took him a lot longer to get back on his feet – and we have experienced related infections ever since.”

Thankfully, as an NHS employee, Rhodes was able to check if he was an ICU candidate if his condition had worsened. “I was able to receive invaluable information of recovery from those on the frontline, which a lot of people don’t have access to, so I was grateful to keep him out of the hospital,” she explained. “We had an antibody test, which informed us that we both have positive antibodies, so we donated our plasma.”

Asked whether their advanced industry knowledge was a blessing or a curse during this incredibly difficult time, Rhodes explained: “We understand what each other is going through as well as our strengths and weaknesses.”

After similar life experiences on the road, indicative of the forgotten events industry, the duo adopt a pragmatic approach to proceedings.

“We’ve got plan A, B, C, and D. We are in regular contact with our local MP and we, like most of the industry, have been lobbying on social media.

Simply put, we’re doing everything we can.”

Other than the furlough scheme, which was to end imminently after speaking to TPi, the family were not entitled to any further support from the

UK government. “I’m only in my first year as a freelancer so I’m not entitled to anything at all because I didn’t have any 18/19 books, which is why I had to get a job outside of the industry fairly quickly because I couldn’t afford to lose any more of my income,” she said. “I’ve only got a 12-month contract, so I’m hoping to go back to live events when, and if, they return to normality in 2021. I doubt there will be any work booked in until March, at the very earliest. I’m keeping my head down, hoping and praying, like everybody else in our industry.”

Rhodes pointed out the myriad events professionals turned supermarket delivery drivers in the wake of the COVID-19 pandemic. “It’s about trying to keep your head above water – most of us are doing that. As a freelancer, that risk is always there, but never in a million years would you believe it was going to come to fruition,” she conceded. “Even those with permanent contracts, such as Rob, have been affected. Not everybody is completely protected. While the furlough scheme has helped, it hasn’t paid all the money we receive, but it’s something – which has now ended, with thousands of technically skilled workers now made redundant.”

Fundamentally, Rhodes and the events industry are calling for support to the manufacturing supply chain. “The supplier end is where the buck stops. The freelancers work there, and they supply the theatres and events – that’s where we need the support,” she explained. “Rob’s former firm alone supplies for 10 million people annually. They’re a big player in the industry, and that’s where the money needs to go – not investment in buildings but people as well, and that’s where the UK government has really missed the boat.”

Despite the UK government’s largest investment in the arts, there is a clear disconnect between cultural establishments and institutions and those on the ground floor – the people who make events a reality. “Mass gatherings were stopped immediately, and freelancers have lost a year’s worth of work overnight. We were the first industry to stop and we will be the last to return. We are weathering the storm ourselves by working outside the industry, which is the hardest bit,” she concluded. “There are an estimated 300,000 freelancers who are incredibly skilled at their jobs, who are now working elsewhere and there might be nothing there to plug that gap when events return tenfold.”

If you are currently experiencing financial hardship as a result of the COVID-19 pandemic, discover what support you are entitled to courtesy of The PSA Welfare & Benevolent Fund, which was founded on behalf of people working in the UK entertainment production industry. In genuine cases of hardship, the Fund may provide small grants for emergency relief when an injury or illness prevents working or forces an unplanned change of career. The fund also offers support towards re-training, which may be advisable as a result of accident or illness. Find out more on p.68 TPi Photos: Jen Grace Rhodes www.psa.org.uk/pages/stage-hand 63

FUTURE INSIGHTS

FUTURE INSIGHTS The latest product releases and announcements.

ADJ The Encore Profile Pro WW features a potent 260W warm white LED light source with a colour temperature of 3200K. It generates an even field of light, with no hot spot, and boasts a high CRI in excess of 97. When used with a 26° lens, it measures a total light output of 10,000 lumens, while the LED engine has an average lifespan of 50,000 hours. The Encore Profile Pro Color utilises a 250W 6-in-1 RGBWAL LED engine, which also boasts a 50,000-hour average operational life.

Through independent dimming control of the red, green, blue, white, amber and lime LED elements, this fixture can be used to generate a gamut of colours ranging from primaries to subtle hues. The fixture has a light output of 6,000 lumens, measured with a 26° lens, and offers a CRI in excess of 90.

ADJ’s complementary EP range of high-quality ellipsoidal lenses feature precision designed and engineered optics to deliver excellent sharpness and an even field. Fixed lens tubes with beam angles of 14°, 19°, 26°, 36° and 50° are available. The Encore Profile Pro WW and Encore Profile Pro Color, as well as the EP range of lens tubes, are shipping now from ADJ distributors and dealers worldwide. www.adj.com

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FUTURE INSIGHTS

BROMPTON The Hydra is a measurement system custom-designed for LED panels fitted with a Tessera R2 receiver card. Panels must be measured with Hydra to benefit from Dynamic Calibration. Investors in the Hydra system will benefit from the system’s minimal setup time, comprehensive error checks and its ability to generate reports in multiple languages to give an objective assessment of panel performance. This makes it straightforward to confirm that each new batch of panels meets individual specifications and reduces the potential for user error. www.bromptontech.com

MILLENNIUM STUDIOS ELATION PROFESSIONAL The Fuze Wash FR (pictured left) features a new 480W (6,500K) 92 CRI engine that utilises a five-colour homogenised LED array of red, green, blue, mint and amber sources. The specially designed Fresnel lens delivers a smooth and even wash and houses an 8.2° to 42.1° beam and 12.7° to 62.1° field motorised zoom for tight to wide coverage. A full blackout framing system with four rotating blades gives full control of the beam shape when required and can index +/- 60°.

A variable frost filter can be added at any time for an extra layer of smoothing. The fixture dims seamlessly all the way to zero with 16-bit selectable dimming curves included. An iris for advanced beam control and high-speed electronic shutter and strobe rounds out its feature set.

The Artiste Mondrian (pictured right) harnesses a long-throw power from a 950W 6,500K White Hotspot LED engine. The custom peak-field LED engine, a first of its kind, features a two-to-one centre to edge LED ratio for more powerful, high centre intensity beam and wash throws while allowing for more unique air FX. With light bursting through a custom-designed 226mm Plano Convex lens, dubbed as the largest PC lens on the market, the thick beam look is deceptively tangible and eye-catching. Combined with a tight 3.3° narrow beam that zooms out to 45°, the Mondrian has the power to cut through at even great distances in arena touring environments or any large-scale show setting. www.elationprofessional.com

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FUTURE INSIGHTS

JBL PROFESSIONAL At the core of the VTX B28 is two JBL Differential Drive 2288H-M 18in woofers, engineered for improved linearity, efficiency and extra-long excursion. The combination of the 2288H-M drivers and the large, central, flared port deliver low-frequency output – even at elevated SPL. FEAoptimised integral bracing eliminates inter-cabinet standing waves, improves rigidity, and simplifies the structural design to create the company’s lightest, yet strongest product to date.

With versatile mounting and configuration options, the B28 fits seamlessly into any system. The streamlined, two-point rigging system uses integrated levers and locks, avoiding traditional quick release pins and retaining cables that can get damaged or lost, or limit the potential configurations. This enables the B28 to be stacked vertically or horizontally, using the independent sets of feet on the bottom and sides, while the spring-loaded design ensures there is no rattling during operation. The Universal M20 mounts interface and supported VTX accessories allow for constructing complete ground stacked arrays. NL4 connectors on both the front and rear of the unit enable convenient wiring in standard or cardioid configurations. www.pro.harman.com

MEYER SOUND MAPP 3D works on both the Mac and Windows platforms, employing local processing with no Internet connection required and is now available as a free download from the Meyer Sound website. As the name implies, MAPP 3D provides highly accurate, 3D renderings of predicted sound system performance within detailed, wire-frame venue drawings. Equally important, MAPP 3D now offers complete integration with the GALAXY Network Platform and Compass control software for a seamless workflow from initial design through on-site tuning. Comprehensive processing parameters for complex systems can be optimised using MAPP 3D predictions, with the resulting processor settings pushed directly into multiple GALAXY processors with the click of a mouse. www.meyersound.com

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FUTURE INSIGHTS

SHURE The Axient Digital AD3 Plug-On Transmitter is designed to provide exceptional portability and connectivity, all while still offering the reliability and performance that are synonymous with the Shure brand. Out-ofthe-box, the AD3 includes an innovative ‘locked’ XLR connector design, a user-friendly control menu, OLED display that is easy to read in challenging lighting conditions, and a sweat, moisture, and debris resistant build. The transmitter also includes a pouch, belt clip, USB-C cable, and supports both conventional AA and Shure SB900A rechargeable battery options.

With the Axient Digital AD3 Plug-On Transmitter, audio professionals can transform any XLR microphone into an Axient Digital wireless microphone, delivering audio quality and RF performance, wide-tuning, and encryption features. www.shure.com

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15.01.2020 09:25:08

PSA: THE BIGGER PICTURE

THE STAGEHAND CREW RELIEF FUND With the industry on pause and the withdrawal of government support mechanisms looming, PSA looks at all options to bridge the gap for those facing imminent crisis in the UK.

Stagehand has launched a Crew Relief Fund - with the aim of raising more money than has historically ever been possible by the charity alone - in order to help those worst affected by the current pandemic.

Our initial aim will be to protect roofs over heads and help keep food on the table.

If you or your business are in a position to help, we encourage you to create your own fundraising initiative.

You can register your ideas at our Just Giving page: www.justgiving.com/psawelfarefund We will promote your endeavours on social media and through word of mouth. Funds have already been raised, and we welcome your continued support.

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PSA: THE BIGGER PICTURE

Ever helped a friend out with a ticket or a pass?

Now may be the time for them to return the favour.

We’re asking live event fans to leave a tip for the crew, maybe for the best gig they’ve ever seen, maybe for the last one they went to.

We’ve made it easy TO DONATE £3, TEXT TIPCREW TO 70331 TO DONATE £5, TEXT TIPCREW TO 70970 TO DONATE £10, TEXT TIPCREW TO 70191

Stagehand is the working name of the PSA Welfare and Benevolent Fund UK Registered Charity. 1080524, founded by PSA members. ** Fundraising, payments and donations will be processed and administered by the National Funding Scheme (Charity No: 1149800), operating as DONATE. Texts will be charged at your standard network rate. For Terms & Conditions, see www.easydonate.org

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INDUSTRY APPOINTMENTS

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INDUSTRY APPOINTMENTS

Audiologic Business Manager for Ireland and Scotland, Andrew Matthews; Ayrton welcomes LSystemsPro as distributor in Armenia.

Audiologic has appointed Andrew Matthews as Business Manager for Ireland and Scotland. Commenting Matthews’ appointment, Audiologic Senior Business Manager, Dave Smith said: “We are delighted to announce that Andrew has joined Audiologic. He brings with him extensive local knowledge, a fantastic approach to the customer experience and a wealth of expertise in advanced audio technology to match.”

Matthews commented: “When I knew this role was available, I knew immediately it was the perfect fit. Now, I can leverage everything I have learned about the specific needs and excellent customer relationships I already have in these markets for the mutual benefit of all concerned. I am thrilled to have joined at a time when the company really is going from strength to strength.”

Ayrton has welcomed LSystemsPro as its new exclusive distributor for Armenia. “We work with many big event companies and large-scale venues, where we both sell and install the products we represent,” explained LSystemsPro founder and CEO, George Hakobyan.

“We have been following the development of Ayrton closely and see there is great potential in the brand. We love the design and functionality of Ayrton products and believe there is great scope for the full range of their fixtures in this market.” Ayrton’s Kseniia Igoshkina added: “Parallel

to our existing distributor network and direct customer contacts, the new collaboration with LSystemsPro represents a great opportunity for Ayrton to enter emergent markets such as the CIS territories. LSystemsPro’s expertise and sustainable solutions open up new opportunities for both existing and new customers to understand the full potential of the technology Ayrton offers. We are looking forward and very excited to be working with Georgi and his professional team.”

Clair Global has announced the acquisition of Eighth Day Sound Systems with the specific goal of continuing to support the dedicated relationships for touring customers of both rosters.

“First and foremost, our hearts and thoughts are with our colleagues and families affected by this sudden work stoppage worldwide,” said Troy Clair and Tom Arko in a joint statement. “While the impact is huge, we encourage all to stay healthy and focus on the future. We’ll get through this and return to work when we can safely gather again for production events.”

The Eighth Day Sound brand will be maintained and will conduct business as it has for the past 40 years, under the same management and with the same staff. The company will become a stand-alone brand under the Clair Global umbrella, joining Britannia Row Productions in the UK, JPJ in Australia, and AudioRent Clair AG in Switzerland.

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www.interfacio.com • +44 208 986 5002

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CHAUVET Professional Las Vegas facility; Datapath’s Ignacio ‘Iñaki’ Viloria López.

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CHAUVET Professional has doubled its capacity to serve customers in the west region of the US by opening a 35,000 sq ft satellite facility in Las Vegas, United States. The new office, warehouse and service centre complex is twice the size of the company’s West Coast Burbank, CA satellite facility that it replaced on 10 August.

“Our investment in a new, larger and more technologically advanced facility reflects our commitment to this industry and our belief in its future,” said Albert Chauvet, CEO of Chauvet. “Being in Vegas will enhance the level of service we’re able to offer our customers.”

Combined with the company’s global headquarters in Florida, the new Vegas operation gives CHAUVET the capacity to ship to any point in the 48 contiguous United States within three days.

Datapath has confirmed the arrival of Ignacio ‘Iñaki’ Viloria López as its new Training Manager.

Based at the company’s UK headquarters, Iñaki spoke of his delight in taking the role: “I am thrilled to be joining Datapath at this time. Despite the challenges of 2020, they are a company that continues to drive forward with innovative developments and strong, successful customer commitment. I look forward to meeting its many customers around the globe as we help them benefit fully from Datapath’s product offering.”

Datapath’s Managing Director and CEO, Bjorn Krylander, added: “Ignacio joins a strong list of new talent to join Datapath in recent months, and we are delighted to welcome him. His passion and technical expertise will be a great asset as we continue to train our customers and partners around the world.”

Earthworks Audio has hired Mike Dias as VP of Global Sales and Marketing. Earthworks Audio COO, Gareth Krassuer commented on the appointment: “Mike’s background in the industry – in terms of his relationships with distributors, resellers, organisations and manufacturers, members of the press, and the live sound reinforcement community – make him an invaluable addition to the team. He moved out to New Hampshire for family reasons and this new partnership becomes a win for all of us.”

Dias commented: “I’m honoured to help spearhead the vision that the Earthworks management team has put in place. I’ve always been attracted to the Earthworks product line and to their philosophy of building precision mics that can fit into any critical environment – measurement, studio or live sound – but right now a great product line is, perhaps, not enough to ensure future health. The other piece to the

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www.interfacio.com • +44 208 986 5002

INDUSTRY APPOINTMENTS

Earthworks Audio VP of Global Sales and Marketing, Mike Diaz; HARMAN Professional Solutions’ Head of Sales for Martin Professional Lighting in EMEA, Ben Hayne; PROLIGHTS welcomes AudioVision as the company’s Romanian distributor; PSAV Chief Executive Officer, Ben Erwin; White Light’s Account Management team.

puzzle, and one that Earthworks understands very well, is the need to take care of all the people involved in the process; the dealers, end-users, partners, and employees.”

HARMAN Professional Solutions has appointed Ben Payne as the Head of Sales for Martin Professional Lighting in EMEA. “I am delighted to have Ben lead Martin Professional Lighting in EMEA. Having worked in theatre and live entertainment lighting for many years, Ben has an innate understanding of the needs of our customers and a passion for the lighting industry and the Martin brand,” said Hamid Soufian, Vice President and GM for the EMEA region, HARMAN Professional. “I am particularly pleased that Ben’s promotion supports HARMAN’s global initiative to nurture internal talent and grow our people into key roles.”

Payne commented: “I am honoured to be given this opportunity to take the helm of Martin in EMEA. I am excited to work with our existing and new customers, and many talented and passionate individuals across the organisation. Since my early professional years, I aspired to the iconic Martin brand, which is unparalleled in this industry, and I’m committed to propelling it to new heights.”

PROLIGHTS has appointed AudioVision as the company’s Romanian distributor. AudioVision General Manager, Vasile Mara said: “For the past 25 years we have been an active part in the events industry, also providing complete audio solutions for the retail market. Working in this kind of industry we are highly passionate about, is synonymous of pure satisfaction. We have proven several times that we can make a difference by offering highly qualitative and reliable products and services. The main purpose of our company is to provide the best sound, lights and special effects solutions for the user and become an icon both for the products we sell and for the services we offer.”

PROLIGHTS International Area Manager, Antonio Parise added: “I had the pleasure to meet AudioVision some years ago. That’s right since I took part of PROLIGHTS, I have immediately approached AudioVision because

I was convinced it was the right company for developing PROLIGHTS in Romanian market and we are impatient to start working together”.

PSAV has named Ben Erwin as Chief Executive Officer, effective immediately, and will maintain his current title as President.

“I am honoured to assume the role of CEO during this pivotal time,” Erwin said. “We are focused on positioning PSAV for a return to growth and long-term success as we continue to provide creative solutions to our customers and venue partners.”

Erwin succeeds Mike Mcllwain, who has served as CEO since 2011.

“Ben has been an important partner in supporting PSAV’s growth over the last five years, and he has the right combination of leadership skills and financial and operational acumen to guide the Company well into the future,” Mcllwain added. “Along with our full Board, I am confident in his ability to step seamlessly into the CEO role and build on our more than 80year history of helping to bring unforgettable events to life.”

White Light has restructured its Account Management team, which now consists of Key Account Managers, Stuart Crane, Dominic Yates and Richard Stirzaker who have been joined by Technical Account Manager, Joseph Smyth, adding additional technical skills, experience and knowledge in specific areas targeted for growth within the company.

Crane explained: “As a company, we are all about building and maintaining those relationships with our clients and offering them the best service possible. In my new role of Key Account Manager I look forward to continuing to work with customers old and new, listening to their requirements and supporting them with the exact technical solutions to complete their projects successfully. As always, we want our clients to have the confidence to call us at any time, speak to a member of the team they are familiar with and know they will receive the very best in customer service from us.”

TPi www.productionfutures.co.uk/job-opportunities 72

TPi PRODUCTION GUIDE

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BACK CHAT

BOB MUNRO TPi Awards 2020 Backline Technician of the Year, Bob Munro, takes the hot seat.

How did you break into the live events industry?

I’d been working with local bands for a wee while in Aberdeen before taking on some Dundonian acts, but my ‘big break’ came by meeting Blossoms when they played Tunnels, where I was working in-house in February 2016.

A few months later, I met the team at Great Escape, where Dan ‘Woolfie’, who was Tour Manager and Backline Tech at the time, was trying to get the lads to interviews in the middle of the load-in. I stepped in, helped, then got asked to come on the road for a week. Four years later, I’m still touring with them.

eyes, were more deserving than I was. That said, it was quite nice when I found out I won!

What have you been up to during the lockdown?

For the first few months, I did daily walks and bike rides – nothing work-related as I didn’t see dropping off guitars at mine as an essential journey. However, once restrictions on Scotland eased in June, I began taking in guitars to work on. I’ve been really surprised at how well received it’s been, as I thought I’d struggle to get a busy month of bookings but, as it stands, I’ve got guitars coming through into October, so I’ll just milk that as long as I can.”

What are some of your career highlights so far?

The Blossoms show at Edgeley Park, Stockport, last year was something special as it was the biggest show that the band and we as a crew had delivered. Another was the We Are Manchester reopening show in 2017, where I looked after Blossoms and Gem from Noel Gallagher’s High Flying Birds. Being trusted to work with the headliner on such a huge show at such an early point in my career really gave me confidence in what I was doing going forward.

How important has the camaraderie of the SK2 Crew been during this trying time?

It’s comforting and important to feel that just because you’re on your own and not working, that doesn’t mean you aren’t part of something. Some of our crew haven’t qualified for any government support and, with the rest of us facing a cliff edge with SEISS finishing, it’s been more important than ever to band together. Woolfie had the great idea of us doing a big push on socials to share what we are all offering off tour; it has helped, but it is not enough – that’s where the government need to step in and support the sector.

How did it feel to win Backline Tech of the Year at the TPi Awards 2020?

I’d been nominated twice previously, which I was flattered about. When I was nominated this time round, I felt that with my two main acts having a ‘quiet year’, I didn’t think I deserved the nomination. I was also up against Joe Cox and Matt Tag, who I have a lot of respect for and, in my

What do you have planned for the next few months?

Lots more guitar setups and some rig building on the horizon and I’m fortunate to be doing a show in Hamburg, Germany, in a few weeks. My next full tour isn’t until February, so I will just have to wait and see what happens.

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SUPPORTING THE INDUSTRY FROM 1987 SUPPORTING THE INDUSTRY THROUGH 2020 SUPPORTING THE INDUSTRY IN 2021 AND BEYOND

#Mar tinEME A

www.martin.com

CS7 CS7p CS10 CS10n CS10p CS118

WELCOME TO CS-SERIES

THE REBIRTH OF POWER

CS119

Adamson has earned a reputation for sound systems that provide unparalleled performance, coverage, and vocal intelligibility. The all new CS-Series is a powered, intelligent loudspeaker platform with on-board Class D ampliďŹ cation and DSP, plus Milan-ready AVB connectivity.

This is Adamson’s legendary sound, evolved for the networked future of professional audio.

E X P L O R E C S - S E R I E S AT P O W E R . A D A M S O N S Y S T E M S .C O M