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Arena Network appoints new booking director

Arena Network, the association of US arenas and large theatres, has appointed Justin Kujawa as booking director.

In his new role, Kujawa, who joins from Nederlander Concerts in Los Angeles, will focus on identifying and pursuing national and regional bookings for the association’s 40-plus member venues.

Before joining Nederland Concerts, where he booked some of the premiere concert venues in California (including the Greek Theatre, Vina Robles Amphitheater and the Forum), Jujawa worked for 17 years at Live Nation, starting his career in operations at Deer Creek Music Center in Indianapolis and working his way up to talent buyer.

“I’m looking forward to driving more content to our venues”

“My years of experience as a talent buyer in many different markets throughout the country has provided me with a unique perspective to help Arena Network’s venue members,” says Kujawa.

“I’ve been fortunate enough to build strong relationships with agents and promoters alike, and I’m looking forward to driving more content to our venues and getting to know many new markets and venue execs in the process.”

“We are thrilled to have Justin joining our team,” adds Arena Network CEO Andrew Prince. “As we all navigate this unprecedented time and venues welcome back fans, having someone with his experience and knowledge will be an incredible asset to all our members. We couldn’t be happier to have Justin with us as we continue to grow our membership and services.”

 


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Eventim’s Henk Schuit appointed head of VVEM

The board of the Association of Event Makers (VVEM) has appointed Henk Schuit, managing director of Eventim Netherlands, as chairman.

Schuit succeeds Hèrald van de Bunt, MD of Arnhem stadium GelreDome, who stepped down in in April 2021 after 16 years at the helm of the Dutch industry association, which represents promoters, festivals, venues and suppliers.

Schuit began his music industry career in 1991, initially at a record label, Provogue, and later moved into ticketing. He has been MD of CTS Eventim Nederland since 2005 and a VVEM member since 2009.

 

He is also chairman of the jury of the Dutch Live Entertainment Production Awards (DLEPA) and treasurer of the Weet Waar Je Koop! campaign against secondary ticketing. He joined the VVEM board, which recently expanded from seven to eight members, in April and started his role as chairman this month.

“I am proud and honoured to be chairman of the VVEM,” says Henk Schuit. “I believe in the power of working together and helping each other, and that is also what the VVEM does. In this coronavirus time, we have seen once again how important that is.

“I look forward to working with the entire board and everyone involved to represent the interests of all event makers and to contribute to a bright future for live entertainment in the Netherlands.”

 


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Resurgent live music sector faces staff shortages

UK industry bodies including LIVE (Live music Industries Venues and Entertainment), the Concert Promoters Association, the Events Industry Forum and the UK Crowd Management Association have written to the prime minister regarding what they describe as crippling staff shortages across large parts of the UK economy.

The live entertainment and events associations are joined by trade bodies representing other sectors, including hospitality, food and drink and retail, in calling for government action to help remediate the situation, with the letter suggesting that EU workers could be allowed to return on a short-term basis to help fill the empty roles.

“While the overall picture is complex, one short-term solution with immediate benefit would be to temporarily ease immigration requirements for the large numbers of workers, particularly from the EU, who have returned to their homelands during the lockdowns. This has contributed greatly to the shortfalls,” reads the letter, which can be read here.

“Indeed, a study in 2020 by the UK’s Economic Statistics Centre of Excellence estimated that 1.3 million migrants left the UK between July 2019 and September 2020. This figure was based on UK labour statistics, and represents over 4% of the UK workforce.

“Unfortunately, evidence suggests that those unemployed within the UK workforce seem unwilling to take on many of the jobs where there are vacancies in the industries we represent. To help resolve this we ask that all those who have worked in the UK over the last three years are given the freedom to return to work here with less restrictive immigration regulations on a short-term basis.

“One short-term solution with immediate benefit would be to temporarily ease immigration requirements”

“A relaxation of the rules does not need to be open ended but it needs to happen quickly if we are to support the recovery of the UK economy.”

The letter comes as entertainment and hospitality businesses in other countries also warn they are facing a staff shortage as they begin to reopen this summer.

In the Netherlands, live music association VNPF is warning that the industry will likely be short of staff when full-capacity shows restart later this year, with many professionals having left the industry over the past 16 months.

Both venues and festivals are short of people, VNPF director Berend Schans tells NU.nl, with the former sector having laid off an average of 20% of their staff last year and the latter probably even more. “Exact figures are lacking, but because that industry [festivals] has been hit even harder than venues, and they have received relatively less government support, I would say that the situation there is even more serious, especially in view of the lay-offs at Mojo Concerts and ID&T, for example.”

Similarly, France, the US and New Zealand are all facing post-pandemic labour shortages, particularly in the hospitality sector, and while the issue has been exacerbated by Brexit in the UK, experts have been warning of shortages for months.

“This will need a government intervention to ensure that the industry has the ability to provide enough staff”

The UK Door Security Association (UKDSA) said back in march that venues and clubs could face trouble reopening as planned following an exodus of security staff during the pandemic.

In addition to EU workers who have gone home, many qualified door staff were forced to find work elsewhere when venues were closed in March 2020.

According to the Security Industry Authority (SIA), over a quarter of the UK’s total security workforce were non-UK nationals in 2018. The UKDSA estimates that over half of the vacancies in the sector may be left unfilled when business restarts gets back to normal later this summer.

“This will need a government intervention to ensure that the industry has the ability to provide enough staff,” says Michael Kill, CEO of the Night Time Industries Association. Concerning new elements in the SIA door supervisor licence which require more training for door staff, Kill adds: “While the training is welcomed, it is not timely given the current economic situation across most of the sector, and consideration needs to be given to it being pushed back to 2022.”

Read IQ’s feature on the challenges of recruiting and restaffing post-pandemic in the latest, 100th issue of the magazine.

 


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21 June: Delay would lead to 5,000 UK cancellations

Research published today (10 June) shows that even a four-week delay to the deadline for lifting the final restrictions on live events in the UK would cost the live music sector over £500 million and leave the summer festival season at risk of total collapse.

More than 5,000 shows by artists including Olly Murs, Tom Odell, Rag’n’Bone Man, Beverley Knight, McFly, Alexandra Burke and Rudimental would either need to cancel or postpone if the 21 June deadline was pushed back, incurring immediate costs across the live music supply chain and further damaging an industry already hanging in the balance, according to industry body LIVE (Live music Industry Venues and Entertainment).

The rumoured move, as IQ reported earlier this week, comes despite the fact that, by the government’s own evidence, large-scale events can happen safely with the right precautions in place.

Through LIVE, a federation of 13 associations representing more than 3,000 live music companies, the live sector is calling for government to publish the data from the first round of Events Research Programme (ERP) pilots, so “they are able to follow their own science” and allow live businesses to reopen with Covid-safe precautions. The ERP findings which have been released by government to the media show that with screening, improved ventilation and other mitigating factors, mass events are reportedly as safe as a trip to the supermarket.

“We implore the government to follow their own scientific data that proves live events are safe with the right mitigations”

Lucy Noble, chair of the National Arenas Association, says: “The pilot shows at the Brits and Liverpool were touted as the key to getting back to full-capacity live performance, which is why it’s extremely frustrating that the government refuses to publish the full report and allow the sector to open up through the carefully planned precautions which are currently waiting in the wings.

“We implore the government to follow their own scientific data that proves live events are safe with the right mitigations. Now is the time for them to protect the live events sector for generations to come.”

Any delay to the 21 June reopening date would have significant and immediate repercussions for grassroots music venues, with 248 venues facing an immediate threat of eviction if the government does not fully compensate their financial losses from delayed reopening, says Mark Davyd, CEO of Music Venue Trust.

“In the event of any delay to reopening, government action to restore confidence to the sector will need to be swift, decisive and comprehensive,” says Davyd. “Any decision to delay places the sector in the most perilous and uncertain situation since April 2020. All that has been done by government, the public, artist and communities to save our venues risks being undone.”

“We cannot keep waiting indefinitely without knowing when step four will take place”

The UK’s much-anticipated summer festival season would also see significant casualties, with 65% of all Association of Independent Festivals members saying they will be forced to cancel if faced with a five-week delay – and 21% already gone.

Jim King, CEO of European festivals for AEG Presents, comments: “A delay into July without a clear road map to get back to step four [full lockdown lifting] puts an impossible strain on all festivals, including AEG’s All Points East festival, along with our suppliers across the industry.

“We cannot keep waiting indefinitely without knowing when step four will take place, and this uncertainty will undoubtedly result, by default, in more cancellations. We are desperate for the UK festival season to begin again, but an undated reopening makes long term planning and investment unfeasible.”

 


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Dutch venue associations to merge

As live music restarts in the Netherlands, two associations representing the country’s music and entertainment venues have merged.

Effective 31 May, the Employers’ Association of Dutch Stages (WNP, Werkgeversvereniging Nederlandse Podia) becomes part of VSCD (the Vereniging van Schouwburg- en Concertgebouwdirecties, or Association of Theatre and Concert Hall Directors).

The WNP, an employers’ organisation, represents venues’ interests; along with the Kunstenbond (Arts Union), which represents individual employees, it agrees the collective agreement that regulates the relationship between venue owners and staff in the Netherlands. It was set up in 1999 by members of the VSCD.

“We hope that as of 1 September all restrictions will be lifted”

Following the merger, the VSCD is now responsible for maintaining this collective labour agreement, it says in a statement. The formal legal steps towards effecting the merger will be taken in the coming weeks, it adds.

VSCD, which represents dozens of theatres and other seated venues, welcomed the reopening of the Netherlands’ venues on 5 June but said ongoing social distancing and capacity restrictions restrict the type of shows its members can put on.

“Developments are going in the right direction, but it is only financially profitable for our stages if at least 60% of the hall is filled,” said VSCD director Gabbi Mesters. “We hope that as of 1 September all restrictions will be lifted and that there will be plenty of cultural events again,” she adds.

 


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Sara slams lack of regulation in South Africa

The South African Roadies Association (Sara) has hit out at the loose regulations governing live events production in South Africa, as it emerged no one has been held responsible for the death of a rigger over two years ago at the Global Citizen Festival: Mandela 100.

Speaking to the Weekly SA Mirror of 4 June, Freddie Nyathela, president of Sara, describes the sector as a “free for all”, blaming the Department of Employment and Labour for dragging its feet on a proposed new framework for the technical events production and production services industry.

Lack of transformation in the industry is ultimately responsible for the death of Siyabonga Ngodze, the 36-year-old who suffered fatal injuries after falling in the set-up for the Mandela 100 event, which featured performances from Beyoncé, Jay-Z and Ed Sheeran.

Though Ngodze’s mother has received compensation from his employer, production company Gearhouse SA, and the Department of Employment and Labour (R39,000 [US$2,900] and R35,000 [$2,600], respectively), Thembekile Ngonze says she has yet to see justice for her “beloved son”.

“I cannot understand why it is taking so long to have someone prosecuted”

“I cannot understand why it is taking so long to have someone prosecuted for the death of my son”, says the 56-year-old.

According to the Weekly SA Mirror, progress in resolving the case has been delayed by successive lockdowns in South Africa. However, a Department of Employment and Labour investigation found that Gearhouse SA had failed to comply with the provisions of the Occupational Health and Safety Act.

In addition to the death of Ngodze, the Mandela 100 event, held to celebrate the 100th birthday of the late Nelson Mandela, was also marred by reports of widespread lootings and assaults, blamed by the venue, FNB Stadium, on the lack of police presence.

The concert raised billions of dollars for education, HIV prevention and anti-poverty initiatives in Africa.

 


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Yvonne Stausbøll joins EMMA as exec director

The European Music Managers Alliance (EMMA) has appointed Yvonne Stausbøll to the newly created position of executive director.

Stausbøll will be based in Brussels, from where she will be responsible for the general management of EMMA and the organisation’s engagement on policy issues in Europe and internationally. With over 25 years’ experience working in public affairs in Brussels, Stausbøll brings extensive knowledge of the European public policy environment – including 15 years combined in the European Commission and European Parliament – to the organisation, according to EMMA.

Formerly head of energy sector trade association UPEI, Stausbøll has in recent years been working with music and culture organisations including Freemuse and Music Without Borders.

“Yvonne’s extensive experience will … ensure music managers have representation at the heart of European policy discussions”

Commenting on the appointment, Per Kviman, chair of EMMA, says: “I am delighted to welcome Yvonne as our new executive director and look forward to working with her.

“This is a significant step for EMMA. Yvonne’s extensive experience will help take our organisation forward, ensuring music managers have representation at the heart of European policy discussions and expanding our engagement with other music-based organisations.”

EMMA brings together Music Managers Forums (MMF) in Belgium, Finland, France, the Netherlands, Norway, Poland, Spain, Sweden and the UK, and has links to allied organisations in Australia, Canada and New Zealand. Its members represent more than 1,200 artist managers in Europe.

 


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Dutch agencies develop green artist rider

UIMA (United Independent Music Agencies), the association of Dutch booking agencies, has released a green rider for artists wishing to tour sustainably.

The rider, which follows the launch of the first green artist rider at GEI in 2019, focuses on eating in a more eco-friendly way, cutting down on flying, reducing waste and using renewable energy. For example, by eliminating the 7,500 short-haul flights UIMA artists take a year in favour of trains, they can reduce carbon emissions from transport up to 80%, the rider explains.

UIMA members, which include Blip Agency, Octopus Agents, Good Music Company, Earth Beat and Sedate Bookings, represent more than 500 acts who play over 15,000 shows annually. The association was formed in April 2020 in response to the Covid-19 pandemic.

The rider focuses on food, transport, waste and energy

In addition to looking at what artists can do to reduce their footprint, the rider also advises how venues and festivals can make a difference, for example eliminating single-use products and using only green energy.

In a statement, the association says it hopes “more artists and agencies at home and abroad will embrace this initiative and help develop it so that we can collectively move towards a cleaner future”.

Download UIMA’s green rider (in English) by clicking here.

 


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Vax4Live: US business promotes vaccine awareness

The National Independent Talent Organization (NITO), which represents more than 200 booking agencies and management companies in the US, has partnered with companies across the live music sector for Vax4Live, a campaign aimed at countering misinformation about the coronavirus vaccines.

NITO, which launched with just 14 members last summer, has joined forces with partners including AEG Presents, Red Light Management, the Independent Promoter Alliance, the International Association of Venue Managers and Universal Attractions Agency, for the national campaign, which provides fans with the facts about the vaccines – with NITO warning that “trepidation” about getting immunised against the Covid-19 will hinder live music’s post-pandemic recovery.

VaxLive will focus on “spreading awareness, gathering support, acquiring partners and preparing calls to action and initiatives that will provide guidance, resources and factual information regarding vaccination efforts and how we can safely return to live events”, according to a launch statement.

“Equitable vaccine access and distribution are the only path forward for live events”

“The initial phase of this campaign, coinciding with the website launch, will focus on getting the word out as far and wide as possible, while providing sources to help answer questions and concerns regarding the vaccines,” explains agent Wayne Forte, on behalf of NITO. “Vax4Live provides a central source through which information can be gathered and we can engage additional partners and organisations to further amplify our efforts.”

Sheri Sternberg of Hardly Strictly Bluegrass, another founder supporter of Vax4Live, says: “Equitable vaccine access and distribution are the only path forward for live events. Hardly Strictly Bluegrass enthusiastically supports the efforts of Vax4Live and the mission to get music fans properly educated and vaccinated.”

At press time, nearly 95 million Americans, or 29% of the US population, have been fully vaccinated against Covid-19.

 


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UK live industry states support for Covid certification

Live music, entertainment, exhibition, events and indoor sports associations and businesses have pledged their support for Covid-status certification as a means to fully reopen venues.

In an open letter, signatories including AEG Europe, the Entertainment Agents’ Association, Kilimanjaro Live, the Concert Promoters’ Association, Ticketmaster, ASM Global, the Association of Festival Organisers, NEC Group and umbrella body LIVE (Live music Industry Venues and Entertainment) state they are willing to work with the British government to implement Covid-status certification – ie ensuring all attendees are free from Covid-19 – at venues in order to get the industry back on its feet safely.

The signatories note that while under the current ‘roadmap’ live shows may return from 17 May with social distancing, the limit of 50% capacity indoors is unviable for the vast majority of businesses, who require at least 80% capacity as the economic threshold for their events.

As an alternative to social distancing, they propose certification – not be confused with vaccine ‘passports’, the idea of which has proven controversial in the UK – that all eventgoers are either vaccinated against Covid-19; have natural immunity to the disease; or have had a negative test within a set period of time prior to arrival.

“The intention of Covid-status certification is to find a non-discriminatory solution that is safe, simple, protects privacy and doesn’t cause unnecessary delays”

“The intention of Covid-status certification,” they write, “is to find a non-discriminatory solution that is safe, simple, protects privacy and doesn’t cause unnecessary delays or a poor experience for visitors.”

The letter, which can be read in full below, is also signed by non-live music bodies including Plasa (the Professional Lighting and Sound Association), #WeMakeEvents, the Meetings Industry Association, the Event Supplier and Services Association, Badminton England and British Athletics.

The sectors represented say they would support a blanket industry-wide introduction of Covid-status certification on a temporary basis following the planned relaxation of all capacity limits from 21 June. “We would expect that any certification is imposed fairly across the economy, reviewed regularly and removed when it is safe to do so.”

While vaccine passports, such as Israel’s green pass, have enabled the resumption of live entertainment in some territories, they are controversial in the UK due to privacy concerns, as well as for perceived discrimination against the unvaccinated, with the opposition Labour party having taken a stand against their introduction.

 


The live events and music industry will work with the Government on COVID-status certification to support full reopening and sector recovery.

The live events and music industry which includes exhibitions; conferences; music arenas; festivals; theatres and indoor sporting events, welcomes the establishment of the Events Research Programme and the safe return of live events as part of the Government’s roadmap out of lockdown.

The industry is committed to working with the Government to ensure a swift delivery of the Event Research Programme’s pilot events and stands ready to establish protocols based upon the information and guidance they provide.

Under the current roadmap, the live events and music industry can plan for the return of some indoor business and music events from 17 May. These will follow social distancing guidelines and have attendance capped to the lower of 1,000 people or 50% of capacity indoors, 4,000 or 50% capacity outdoors and 10,000 or 25% capacity if seated outdoors. However, given the economic threshold for most business and music events is around 80% of maximum capacity, activities under these limits will be far from sufficient to end the sector’s financial crisis. This will also continue to have grave economic impacts on sectors that every live event supports, including but not limited to, hospitality, production, transport and logistics.

The Government’s reviews announced in the roadmap (COVID-status certification, social distancing, and the Events Research Programme) will explore different access control measures that businesses could be legally required to introduce. One that continues to be hotly debated in the press is the introduction of COVID-status certification. Not to be confused with the term ‘vaccination passports’, the simple premise is to reduce the likelihood of people who may be infected from attending events and ensure the safety of other attendees and event staff. This would be managed by ensuring that all attendees are either vaccinated OR have natural immunity OR have a negative COVID test within a set period of time prior to arrival. COVID tests are now available free of charge to all UK adults. The intention of COVID-status certification is to find a non-discriminatory solution that is safe, simple, protects privacy and doesn’t cause unnecessary delays or a poor experience for visitors.

The industry welcomes that the Events Research Programme is considering whether COVID-certification can be used as an enabler of all event types to return to capacity audiences, without masks or social distancing. We would support a blanket, industry-wide introduction of COVID-status certification on a temporary basis, to permit the full relaxation of capacity limits from 21 June, Stage Four of the Government’s roadmap. Implementation would be subject to the provision of clear and timely guidance from the Government, it being simple to understand and be of little cost to businesses. We would expect that any certification is imposed fairly across the economy, reviewed regularly, and removed when it is safe to do so.  

The introduction of COVID-status certificates as a temporary measure could be a pragmatic solution that would enable events to resume at commercially viable attendance levels and will also give further confidence to customers that events are safe to attend.  

We recognise there are many issues to be addressed including how the technology would work, its viability for use at a range of different events and related data protection issues, for both the attendees and the organisers. The industry is committed to working at speed with the Government to help address these issues over the coming weeks as part of its considerations. It is essential that the industry has visibility and certainty as soon as possible on the form this government guidance will take so that it is able to plan effectively. This is particularly important given many major live music and business events are planned from late June and onwards and the sector typically requires a lead time of anywhere between three to six months to successfully stage large scale, organised meetings, events and performances.

The live events and music industry is confident that if the introduction of a robust COVID-status certification programme is recommended by the Government to enable the full reopening of capacity events, together with other calibrated, evidence-based mitigation measures, it would provide safe environments for all visitors, staff and audiences. The industry is more than capable of implementing additional health and safety practices; working with the Government, this can be done if all parties take a timely and transparent approach.

Live events are a part of our nation’s DNA, enriching our culture and commerce, boosting the economy by over £70 billion per year. It is time for their return. We look forward to working with the Government in resuming live events in a safe and sustainable manner and ensuring their role in contributing to both the economic success and cultural wealth of the UK returns.

Signed,

Exhibition and Conferences
Agribriefing
Rupert Levy, Group Finance Director
Harrogate Convention Centre
Paula Lorimer, Director
NEC Group
Paul Thandi CBE, Chief Executive Officer
Association of Event Organisers (AEO)
Chris Skeith, Chief Executive Officer
Hyve Group PLC
Mark Shashoua, Chief Executive Officer
Nineteen Group
Peter Jones, Chief Executive Officer
Association of Event Venues (AEV)
Rachel Parker, Director
Immediate Live
Paul Byrom, Managing Director
Olympia London
Nigel Nathan, Managing Director
Business Design Centre
Dominic Jones, Chief Executive Officer
Informa Markets
Mark Temple-Smith, Chief Operating Officer
P&J Live
Nick Waight, Managing Director
Clarion Events
Russell Wilcox, Chief Executive Officer
Manchester Central
Shaun Hinds, Chief Executive Officer
Reed Exhibitions UK
Anna Dycheva-Smirnova, Chief Executive Officer
CloserStill Media
Philip Soar, Executive Chairman
Manufacturing Technologies Association (MTA)
James Selka, Chief Executive Officer
SEC
Peter Duthie, Chief Executive Officer
Events Industry Alliance (EIA)
Lou Kiwanuka, Chair
Media 10
Lee Newton, Founder and Chief Executive Officer
Tarsus Group PLC
Douglas Emslie, Chief Executive Officer
Event Supplier and Services Association (ESSA)
Andrew Harrison, Director
Meetings Industry Association
Jane Longhurst, Chief Executive
William Reed
Andrew Reed, Managing Director, Events & Exhibitions
ExCeL London
Jeremy Rees, Chief Executive Officer
Montgomery
Damion Angus, Managing Director
Farnborough International Exhibition & Conference Centre
Gareth Rogers, Chief Executive Officer
NCC Events
John Lally, Chief Executive Officer
Music, Ticketing, Theatre and Comedy
AEG Europe
John Langford, Chief Operating Officer
LIVE (Live Music Industry Venues and Entertainment)
Greg Parmley, Chief Executive Officer
Really Useful Group
Jessica Koravos, President
AEG Presents UK
Steve Homer, Co-CEO
Marshall Arts
Barrie Marshall MBE/ Doris Dixon, Chairman/Director
Royal Albert Hall
Lucy Noble, Artistic and Commercial Director
ASM UK
John Sharkey, Executive Vice President for Europe
On behalf of: AO Arena Manchester, Bonus Arena, First Direct Arena, P&J Live, The SSE Arena, Wembley, Utilita Arena Newcastle.
Mick Perrin Worldwide
Mick Perrin, Managing Director
See Tickets
Rob Wilmshurst, Chief Executive Officer
Association for Electronic Music
Greg Marshall, General Manager
Music Managers Forum
Annabella Coldrick, Chief Executive Officer
Society of Ticket Agents and Retailers (STAR)
Jonathan Brown, Chief Executive Officer
Association of Festival Organisers
Steve Heap, General Secretary
Music Venue Trust 
Mark Davyd, Chief Executive Officer
The Entertainment Agents Association 
Tarquin Shaw-Young, Chair
Association of Independent Festivals 
Paul Reed, Chief Operating Officer
National Arenas Association (NAA)
Lucy Noble, Chair
The O2
Steve Sayer, VP & General Manager
British Association of Concert Halls
Kevin Appleby, Chair
Nottingham Arena
Martin Ingham, Chief Executive Officer
The SSE Hydro
Debbie McWilliams, Director of Live Entertainment
Concert Promoters Association (CPA)
Phil Bowdery, Chair
Phil McIntyre Entertainment
Phil McIntyre/Paul Roberts,
Owner/MD
Ticketmaster UK
Andrew Parsons, Managing Director
Featured Artists Coalition
David Martin, General Manager
Production Services Association 
Dave Keighley, Chair
#WeMakeEvents
Duncan Bell, Steering Committee Lead
Kilimanjaro Live Group
Stuart Galbraith, CEO
Professional Lighting and Sound Association (PLASA)
Peter Heath, Managing Director
Indoor Sports
Badminton England
Adrian Christy, Chief Executive Officer
Grandstand Group
Emma Wardell, Event Director
Queensberry Promotions
Frank Warren, Founder
British Athletics
Ryan Murphy, Commercial Director
Matchroom Sport
Eddie Hearn/ Frank Smith,
MD Matchroom Sport/CEO Matchroom Boxing
ESL UK
James Dean, Chief Executive Officer
PDC
Matthew Porter, Chief Executive Officer

This article forms part of IQ’s Covid-19 resource centre – a knowledge hub of essential guidance and updating resources for uncertain times.

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