USA - Two more ESTA draft standards are now available for public review until 21 September 2020.
BSR ES1.7 - 202x, Event Safety - Weather Preparedness addresses the considerations, development, and use of event planning strategies that mitigate weather-related risks associated with live events, and with the temporary structures used for these events.
BSR E1.4-2, Entertainment Technology - Statically Suspended Rigging Systems establishes minimum performance requirements, recommendations, and guidelines that can be used for installation, use, maintenance and inspection of statically suspended rigging systems, permanently installed in venues used for entertainment purposes.
Both of these draft standards, along with their respective public review forms and instructions, can be downloaded at https://tsp.esta.org/tsp/documents/public_review_docs.php.
On 6 July, ANSI's Board of Standards Review approved another ESTA standard: ANSI ES1.9 - 2020, Crowd Management. This standard - the second to be published in a series of event safety guidance standards currently in development - helps the user understand the basic principles of crowd management theory and vocabulary, so they can be appropriately applied to certain reasonably foreseeable risks that arise during live events. It is available for free download from the TSP website at tsp.esta.org/freestandards. It is also available for sale from ANSI and IHS.
USA - Live Design International (LDI) is the latest major industry event to fall victim to the coronavirus pandemic. Questex, the parent company of LDI, has announced the event will be forced to cancel due to the COVID-19 pandemic. LDI was originally scheduled to run 23-25 October 2020 at the Las Vegas Convention Center in Las Vegas.
The event has been rescheduled for 19-21 November 2021.
The organisers say in a statement: “We recognise the tremendous economic and emotional impact the COVID-19 pandemic has had on the global market, and we are committed to working with each stakeholder on a solution to support your business. For more than three decades, LDI has been the hub for the global live production community to learn about new technologies and applications, engage with peers and industry vendors and replenish creativity.
“This will be the first time in our 32-year history that the event has been forced to cancel. Our thoughts go out to everyone who has been affected by the current situation. Our number-one priority remains keeping our entire industry safe and helping to rebuild in the near future, in a manner that reflects our community-forward focus.
“The LDI team is working through the logistics that are involved with cancelling an event. Any paid attendance options will be automatically rolled over to the 2021 show. Exhibitors and sponsors will be contacted shortly with additional information. Thank you for your continued patience and support.”
Immediate exhibitor enquiries should be addressed to Marian Sandberg, vice-pre
UK - Edinburgh International Festival has unveiled My Light Shines On, a series of video works and light installations across Scotland’s capital to mark the beginning of the festival season and celebrate the enduring spirit of the Festival City.
Through a series of digital commissions, the Edinburgh International Festival is partnering with Scottish artists and national arts companies, spanning the worlds of theatre, music and dance, to film original performances in venues including the Edinburgh Festival Theatre, The King’s Theatre, Leith Theatre, The Hub, Usher Hall and The Queen’s Hall. All films premiere on Edinburgh International Festival’s YouTube channel on Saturday 8 August at 9:30pm.
The films include a personal love letter to Scottish theatre from the National Theatre of Scotland, directed by award-winning filmmaker Hope Dickson Leach and co-conceived with National Theatre of Scotland artistic director Jackie Wylie and dramaturg Philip Howard, along with Scottish Opera’s modern-day interpretation of Gian Carlo Menotti’s The Telephone, starring Soraya Mafi and Jonathan McGovern, filmed in the bar of the King’s Theatre.
The Royal Scottish National Orchestra features mezzo soprano Karen Cargill in a recorded performance led by music director Thomas Søndergård in his International Festival debut. The Orchestra performs a rich programme in celebration of Mahler’s 160th birthday.
A series of films from Scottish Ballet includes new work from emerging choreographer Nicholas Shoesmith, as well as a revival of acclaim
France - Once again BroaMan and Optocore network devices were deployed to maximum effect at this year’s Grand Concert de Paris spectacular.
The event coincides with France’s National Day (on July 14). And having scaled new heights last year with the solutions and I/O capacity provided by the two German partner brands - creating an immersive environment for Radio France, with 152 Optocore preamps and MUX22 IVT / MADI connectivity - this year technology contractors GB4D went even further. Working once again for Radio France, they set up an elaborate optical broadcast network topography on the Champ de Mars in the shadow of the Eiffel Tower, but with the location eerily empty other than for technicians.
“Playing without an audience due to COVID-19 was certainly weird,” stated GB4D owner, Gilles Bouvard. “We felt really alone without the 500,000 spectators!”
Bouvard was clear in what the challenge represented, and it was essentially to produce an advance multi-format broadcast signal flow to the Radio France and France TV OB trucks from the FOH and monitor positions, as well as from the pyrotechnics position.
“We had to provide Radio France’s sound engineers with all the necessary tools,” he confirmed. And this year that again included 144 Optocore microphone preamps (both X6RFX and TP) as well as MADI stream connectivity between the Lawo, Yamaha and Studer consoles, via BroaMan MUX22 MADI and Optocore M12 and DD2FR-FX devices. In all, GB4D created a distribution universe of more than 600 audio streams between the FOH and monito
UK - The #WeMakeEvents campaign has progressed into the ‘Red Alert’ phase, with planned activities set to take place across London and other major cities in the UK on the evening of 11 August.
The initiative will raise the alarm for the live events and entertainment sector, which has been badly-hit by the pandemic, resulting in countless event cancellations.
The campaign reports that the disruption of the summer season alone has affected over 600,000+ jobs in outdoor events. Meanwhile, a campaign survey revealed that redundancies in the sector are already happening, with 15% of businesses stating that they plan to make redundancies during August and 70% reporting that they could be forced to do so by the end of 2020.
The campaign warns that the termination of the government’s furlough scheme and the self-employment income support scheme in October would leave up to one million industry professionals with no financial security. “The complete lack of work in the sector combined with the withdrawal of government support will force industry professionals, including the 72% of freelancers, to seek work in other sectors,” says a statement.
Live events may not be able to return until March 2021 due to social distancing rules and the long-term planning now has the collaborative support of 17 trade bodies and several more production companies and manufacturers required for many arena tours, festivals, and stadium events.
Europe - Professionals from across the global concert touring industry have joined forces to form the PSA Tour Production Group (PSA TPG) in order to provide a unified response to the impact of COVID-19 on live music events.
The body is a new arm of the Production Services Association (PSA) and includes tour managers, production managers, safety professionals, venue and festival managers, travel and logistics specialists, promoters, and industry suppliers.
The Covid-19 Working Procedures Guidance outlines how touring productions - which include one-off shows, festivals and live events of any size that require moving personnel and equipment to a new destination - can better align with suppliers, venues and promoters through consistency and consultation to assist risk management relating to COVID-19 transmission.
Based around a hierarchy of control (including elimination, substitution, engineering controls, administration and PPE) and a responsive threat scale, the guidance details different levels of design, schedule and control measures appropriate to conditions. These measures include social distancing, health declarations and monitoring, hygiene and cleaning, and mitigation.
Members of the PSA TPG have worked for artists including Madonna, Queen + Adam Lambert, Sam Smith, P!nk, Kings of Leon, Robbie Williams, Spice Girls, One Direction, Adele, U2, BST Hyde Park, Reading Festival,
USA - Audi Presents: Summer Drive-In Concert, which was held in appreciation of Los Angeles' frontline and essential workers, was the first time the R&B artist Kehlani performed songs from her album It Was Good Until It Wasn't, which she released mid-shutdown on 8 May.
The 100-person crowd watched the show at Calamigos Ranch nestled in the hills of Malibu, California from vehicles that had been provided for the concert.
The show was also an experiment in live music and larger events in the coronavirus era, with masks required and cars spaced six feet apart.
In what may become the new normal, upon arrival at the drive-in guests had their temperatures taken and were asked to fill out a questionnaire. Bags of hand sanitizer and Audi-branded masks were handed out to each attendee, along with a picnic basket of popcorn, pretzels, charcuterie, and beverages, including non-alcoholic mixed drinks Malibu Spritz and Agua Fresca. Blankets and folding chairs were also placed inside the cars for out-of-vehicle seating.
DJ Jasmine Solano performed on stage for two hours ahead of Kehlani's set, also wearing a mask.
For audio setup, rental company and long-term K-array partner, On-Stage Rentals supplied a Firenze-KH7 sound system. Total coverage was provided by three KH7 loudspeakers hung vertically per side plus six KS8 subwoofers in front of the stage.
Not only was Audi happy with the setup, but Kehlani’s sound engineer was also very impressed with the clarity of the system.
UK - Arts organisations can now apply for a portion of the government’s £1.57bn relief fund.
Up to £622m in grants will be made available during this first phase of the programme, including a £2.25m pot for grassroot music venues announced earlier this month.
Arts Council England will allocate £500m, with handouts of between £50,000 and £3m available for cultural organisations based in England, such as theatres, music and comedy venues and museums.
The rest of the money will be distributed by the British Film Institute (£30m) for independent cinemas, and the National Lottery Heritage (£92m) to protect heritage sites.
To be eligible for a grant through ACE, organisations must be registered at Companies House and/or Charity Commission, and be able to present at least one year’s full independently certified or audited financial statements.
Applications can be lodged on the body’s website across two rounds in August, although ACE expects that 75% of the budget will be allocated during round one.
Deadlines for applying are 10 August to 21 August for round one, and 21 August to 4 September for round two.
Successful applicants are required to use the
UK - Powerful Thinking, the outdoor events sustainable energy working group, has restructured to provide specialist sustainable energy advice to live events, appointing a new chair and project lead Tim Benson, heading up a new-look board, within the Vision: 2025 sustainable events knowledge hub, July 2020.
Powerful Thinking is a not-for-profit working group, whose mission is to provide the outdoor events industry with inspiration, resources and technical support to enable a transition from carbon intensive temporary power provision to lower impact solutions.
Tim Benson states: “I am delighted to be working with this diverse team of industry experts. We are going to focus on driving significant reductions in carbon emissions at events, producing a comprehensive library of resources to support the differing needs of all levels of organisers and suppliers.”
These resources will include ‘How to’ guides, energy monitoring tool kits and advice on how to get the most from your power contractor. The group will also continue to profile power contractors with a proven track record in delivering emissions reductions, share features on fresh and innovative clean tech solutions and maintain a case study resource bank for inspiration.
The new board brings together experienced industry professionals, representing different sectors of the outdoor events market, together with representatives of key industry bodies, generator and tower light specialists, battery suppliers and monitoring experts.
Board members include chair and project lead Tim
Europe - Merging Technologies has supported the AES Student Recording Competition for many years, both at the European and US Conventions, by donating a prize of a Pyramix Native licence to the top student in the appropriate category.
The situation was rather different this year with the Vienna Convention being virtual; no Merging employee could present the prize. Nevertheless, the competition went ahead as normal and produced an excellent result for a student from the Detmold Hochschule für Musik. Kseniya Kawko was awarded the Gold Award in the Traditional Acoustic Category for the recording of the piece by Michio Miyagi Haru no Umi and Silver Award in the Immersive Category for the recording of the Mendelssohn String Quartet No.2 in A Minor.
Kseniya recorded and mixed both projects on Pyramix since Detmold and McGill University, where Kseniya did her previous studies, have been equipped with Merging products for many years. Merging operates a generous student purchase programme that is designed to assist those looking to make their career in music recording.
UK - Leading trade bodies and businesses are joining forces to issue a Red Alert and highlight the severe challenges faced by the live events industry and its entire supply chain due to the pandemic.
Planned for 11 August, the action will include social media and video drives as well as legal outdoor events, with other specific activities occurring on the day.
The initiative is part of the #WeMakeEvents campaign that aims to raise awareness of the sector’s struggles and to secure further support from the government.
“The live events industry supply chain that contributes to every single event in the UK is set to completely collapse,” comments Peter Heath, MD of PLASA. “Social distancing prohibits mass events, and even if this stopped now, long-term planning for events won’t enable a return until around March 2021. Now, the whole industry is coming together to initiate a Red Alert. We have been campaigning for financial support from the government using #WeMakeEvents because the sector is on its last legs.”
According to campaign research conducted last week, redundancies across the sector have already started. Of the companies surveyed, 10% said they plan to issue notices by the end of July whilst 15% intend to do so in August.
But 70% of those polled admitted they would make redundancies by end of the year, with a fifth expecting to lose 70% of staff.
Earlier this month, the UK government announced a £1.57bn rescue
Spain - Now in its eighth year, BIME Pro takes place on 26-28 October. Say the organisers, “BIME Pro will once again bring together the biggest names in the music industry to discuss the future of the sector and debate the issues it faces in light of over 800,000 concert cancellations globally in 2020.”
Under the hashtag #masceraquenunca (closer than ever) the event urges the industry to move forward together through these unprecedented and challenging times.
BIME Pro will be held this year in a new setting – downtown Bilbao – supported by “a digital ecosystem that will amplify the reach of this unmissable date for music professionals on a global level”.
“At BIME Pro we believe in the need to feel that we’re closer than ever - closer to all the businesses, professionals, students, institutions, sector entities, brands, to all of us who make up this professional fabric and who for years have been coming together to debate, discuss, learn, and innovate - collectively, inclusively, for us all,” says Julen Martin, director, BIME Pro.
“To this end, despite the consequences arising from this crisis, BIME PRO is committed to continuing forward and offering a program that will help shape the strategies of the future of the music industry.”
Tickets will be available from 1 September 1st on the BIME website: www.bime.net.
UK - The Sustainability in Production Alliance (SiPA) is joining forces with the Association of British Technicians (ABTT) and The United States Institute for Theatre Technology (USITT), to stage a free webinar on 29 July (Wednesday), where a panel of experts will discuss how the industry can use the current hiatus to create a more sustainable approach to its work.
SiPA’s Carol Scott, principal advocate for sustainability at TAIT and SiPA, will be joined by a host of respected live production industry and environment leaders to discuss how we shape the future of touring and performance to reflect the climate emergency the world is facing.
Alongside Carol Scott will be Jon Bausor - multi-award-winning international stage designer and creative director; Spike Brant - CEO of Nimblist and a designer and advocator of sustainability; Ian Garrett - USITT member and designer with Toasterlab; Huntly Christie - CEO of Christie Lites based in the USA, Canada and the United Kingdom; and Dr Chris Jones, research fellow at University of Manchester who is currently examining the key impact areas of the music industry on the environment.
“Every cloud has a silver lining, even the COVID-19 pandemic,” says Scott, who globally leads the charge at TAIT and wants to make sustainability an essential part of the DNA of the entertainment industry. “As an industry, we know it is imperative that we become more sustainable. This current hiatus is giving us all time to evaluate how we can holistically transform the way we work. Collectively, we can become an industry
UK - The entire events supply chain is at risk of collapse without further government support, PLASA has warned.
“Research has already shown that the majority of companies are running out of reserves fast with no prospect of work on the horizon,” the Association says in a statement. “It is only a matter of time before companies begin to fail and skilled individuals are lost to other sectors.”
It has been a devastating year for companies and freelancers across the industry, with the latest PLASA survey revealing that 70% of respondents lost all their revenue in the past four months. Meanwhile, the survey also found that 60% of the respondents don’t believe the government’s £1.57bn arts rescue package would have an impact on their business.
“This financial challenge was exacerbated for companies who were denied business grants, despite the chancellor announcing that they would be eligible, as well as freelancers and limited company directors who do not qualify for income support,” PLASA’s statement continues. “The government’s £1.57bn rescue package for the arts hit the headlines, yet only addresses the very tip of the iceberg. Theatres and venues are of course an essential part of our industry, but the government has failed to recognise the vast network of professionals who bring shows to the stage, often ranging in the hundreds from manufacture and distribution to stage design and technical crew.”
On 9 July, the government announced that outdoor events can resume. However, of those surveyed by PLASA, 80% have said t
South Africa - #LightSAred will kick off with a live interactive broadcast, Live, via the SACIA YouTube and SACIA social media platforms today, Monday, 20 July at 15:30.
The broadcast will officially launch the #LightSAred campaign and will be presented by Sharif Baker, Duncan Riley and Projeni Pather.
“For too long we have been the forgotten industry, but the fire has begun. Join friends and colleagues in the live entertainment industry as we stand in solidarity to make our voice heard,” say the organisers
UK - Owing to the ongoing situation regarding COVID-19, the decision has been taken to postpone 2020’s BPM DJ show.
A statement from the organisers says, “Since the start of the Coronavirus outbreak the BPM team continued to monitor guidance and advice from the government whilst remaining optimistic that we would be able to safely deliver the BPM show this year, however unfortunately due to the restrictions that would need to be implemented, we felt that in the interest of safety to both our staff and the customers, it is best to postpone until such a time as its 100% safe and we can deliver a great show without limitations!”
The new dates have been secured and BPM will now take place on Saturday 27 and Sunday 28 March 2021 at the same venue - Cranmore Park, Solihull. Further details will be issued in due course.
If you have already purchased advanced tickets to BPM 2020, you can choose to either transfer your tickets to the new show dates at no additional cost or simply cancel and request a full refund.
UK - Similar to other musicians who had found themselves restrained by the coronavirus lockdown, five-piece UK band Mamas Gun, widely known for their album Golden Days, was struggling to find a way for all band members to play together remotely without latency or other issues. A solution was found in the form of Tin Pan Studio, which allows remotely based musicians to jam, rehearse, create, record and perform music together over the internet in realtime. Thanks to this innovative technology, Mamas Gun was able to deliver a successful live stream concert as part of the global #DontStopTheMusic music initiative by Sennheiser.
When the pandemic hit, Doug Hunt, live sound engineer and MD of Doug Hunt Sound & Light, had all his work cancelled, so he started looking for ways to help bands perform together remotely over the internet. “Like everyone else, I came up short,” he says. “There just wasn't anything available that had fast enough monitoring for professional musicians while providing great quality audio.”
Desperate to continue to make music with the bands he loves, Hunt set about creating what became Tin Pan Studio. The technology behind Hunt’s creation combines ultra-low latency server-based monitoring for the musicians, with studio-quality audio for the engineer to mix. Once a working prototype (then called ‘DougMons’) was complete, Hunt reached out to MG Management, Mamas Gun’s management, to see if they wanted to try it out.
“I've worked with Mamas Gun for many years, they have become good friends and I love their
USA - The Audio Engineering Society (AES) has released preliminary details on the upcoming International Conference on Audio for Virtual and Augmented Reality (AVAR), set to take place in its own online virtual venue on 17-19 August.
The event will serve as a hub of innovation for the latest research in the fields of spatial audio and technology for virtual, augmented and mixed reality, with a focus on technical solutions and recommended practices in the field.
“The necessity to take AVAR 2020 fully online is ideally suited to the Conference content,” says Matt Klassen, chair. “Our attendees can plug in entirely, create an avatar and participate and interact inside a virtual environment. One of the primary advantages of holding the conference in VR is the very compelling nature of the 3D audio for small group conversations - a big step up from flat screen teleconferencing.”
Co-chair and treasurer Lawrence Schwedler adds: “Not only will AVAR 2020 explore practical and effective production workflow for audio production for immersive experiences, it will itself be such an experience and demonstrate an application of the technology that couldn’t be more timely.”
The 2020 AES Conference on Audio for Virtual and Augmented Reality builds upon the AES’s two previous AVAR conferences and will offer a fresh look at audio production for these rapidly growing market segments.
This year’s topics will include spatial audio capture, rendering, synthesis over headphones and loudspeakers, binaural applications, Ambisonics, 3D audio
UK - Technical event production specialists Sparq, part of the Saville Group has invested in Hirehop rental software.
The company recently adopted Hirehop as the rental software of choice to facilitate the comprehensive management of equipment and critical production assets. Operating on a global scale, the Sparq team identified flexible and powerful software to manage their inventory, productions and day to day operations were required.
After researching numerous systems, Sparq concluded that HireHop was best suited to their needs, due to its extensive and flexible range of features, intuitive ease of use and scalability, built around 24/7/365 cloud access.
HireHop’s director Keith Jacobs said, “It is an honour to have to have such a well-known, established and respected company join the ever-growing list of HireHop users.”
Rob Morrison, Client Director at Sparq commented “Sparq needs to rely on a robust logistics management system due to the wide diversity of our global client base and the unique event experiences we create for them. The team at Hirehop have delivered at every level for us making it an easy choice.”
Over the COVID-19 lockdown, the HireHop team has been adding features and improving the software, especially the accounting integration of HireHop.
As many hire companies operate more than one company in the same depot, or different companies at different depots, and sometimes using different accounting software for different companies or sharing some but not others, HireHop developed a new feature to han
UK - As the COVID-19 pandemic continues to have a major impact on the events industry, organiser of The Showman’s Show, Lance Show & Publications Limited, has announced that the 35th edition of the event will not go ahead as planned this October. The Showman’s Show will return to Newbury Showground in 2021 on 20-21 October.
Jeremy and Johnny Lance, co-directors of Lance Show & Publications Limited have issued the following statement: “As the COVID-19 pandemic continues to impact our wonderful industry we have taken the extremely difficult decision not to go ahead with The Showman’s Show 2020 this October.
“Since the start of the Coronavirus outbreak we have closely monitored guidance and advice from the government and PHE and remained optimistic that we would be able to safely deliver the 35th edition of the show as planned.
“The new guidelines do offer some hope for the industry that smaller outdoor events can begin to return. However, it is increasingly clear that any event we produce will have greatly reduced exhibitor and visitor numbers. This would result in a scaled down version of The Showman’s Show that wouldn’t offer the experience that our visitors expect or the return on investment that our highly valued exhibitors, not only deserve but need after such an incredibly difficult year.
“The industry now needs time to recover, and collectively our efforts need to be focussed on bouncing back stronger than ever. We will work hard to ensure that The Showman’s Show 2021 remains the perfect platform for bringin
UK - The Connecting Culture 2020 virtual conference and expo aims to bring together museum and heritage professionals from around the world, for two days of networking, insight, and learning, on 9-10 of September.
Free to attend, at this event visitors will have the opportunity to hear from industry leaders from the world of museums, heritage, and culture, learn about relevant technological developments and partake in discussions regarding future operating procedures post COVID-19.
The Expo at Connecting Culture boasts over 20 exhibitors. Networking with exhibitors is made simple, through 1-2-1 video calls, live text chat and exchanging virtual business cards. With on stand demonstrations and downloadable stand content, visitors can experience the latest products and services for themselves, from their laptop, tablet, or smart phone.
For more information regarding booking for Connecting Culture 2020 Virtual Conference and Expo, visit experienceuk.org/connectingculture.
UK - Outdoor venues, including open-air theatre, opera and music venues, can reopen from 11 July and host socially-distanced performances, the culture secretary Oliver Dowden has announced this afternoon (9 July).
This will mean venues will be able to host performances for the first time in 115 days since they were forced to shut on 18 March.
"This is an important milestone for our performing arts, which have been waiting patiently since March," Dowden said. "We are taking various measures to make these places safe as they reopen. Venue capacity will be reduced and organisations will be encouraged to move to electronic ticketing to help Test and Trace. But our performing arts deserve an audience and they will be getting one."
He added that the government is working to usher audiences indoors as soon as possible and is funding scientific studies to find ways to mitigate "specific public health risks", like the impact of singing and wind and brass instruments on coronavirus transmission.
It is also working with the sector to pilot a number of small indoor performances with a social distanced audience. The Department for Digital, Culture, Media and Sport is working alongside sector bodies including UK Theatre, the Association of British Orchestras and the Musicians’ Union to identify suitable pilots. This will include working with London Symphony Orchestra at St Luke’s as well as the London Palladium and Butlins amongst others.
"The more we know about coronavirus in this setting, the safer we will be," he added. The minister said governme
UK - Last night (6 July), some of the UK’s most iconic venues and landmarks were lit up in ‘emergency red’ as part of the #LightItInRed campaign to draw attention to the critical condition of the live events and entertainment industry. A glimpse of hope was given to Britain’s arts industry on Sunday evening (5 July), as £1.57bn was pledged by the government – yet the supply chain behind the production of live events and festivals, including many freelancers, is still awaiting clarification as to what support they will be offered.
Unlike other industries, live theatre, outdoor events, concerts, festivals and performances have been unable to safely resume due to social distancing guidance and other restrictions. Many predict these events may not resume until 2021. The #LightItInRed campaign aims to draw attention to the often hidden workforce behind such events, many of whom are not eligible for any of the government COVID-19 financial schemes – putting further strain on the sector.
Inspired by Germany’s #NightOfLight protest which took place in June, the #LightItInRed campaign saw hundreds of buildings and landmarks across the UK illuminated, from Cornwall’s Minack Theatre, Glastonbury’s bare Pyramid stage, Brighton’s famous pier and the Biomes of the Eden Project, to London venues including The Royal Albert Hall and the National Theatre, and further north to the Blackpool Tower, Liverpool’s Everyman Theatre, Theatre Royal Dumfries and countless other sites. Industry companies taking par
UK - PLASA has responded to the UK government’s pledge of £1.57bn funding for the arts with the following statement from its MD, Peter Heath: “While PLASA is pleased to see the government deliver a generous rescue package to arts institutions across the UK, they have only addressed the tip of the iceberg. We hope that the government will announce further support for all the manufacturers, suppliers and freelancers who help make the UK a global leader in events.
“Theatres and venues are absolutely essential to the cultural fabric of the UK, however, they only represent the public face of a vast industry. Each arena concert, musical show, arts installation, or corporate event relies on a complex supply chain, often involving hundreds of professionals. To put on a single arena show requires an average of 443 people working at all levels from planning and manufacturing to logistics and live production.
“PLASA stands by its initial plea which is for the government to provide the entire event industry supply chain with grants as well as extensions to both the Furlough Scheme and the Self-employed Support Scheme. From the start, government grants were not explicitly made available to the event supply chain, with only one out of six PLASA members surveyed successfully receiving grants. And although the Furlough Scheme was a great relief, the tapering off by Autumn does not bode well for companies who do not expect to see any business until next year. The situation has been just as