Solving the supply chain crisis
Experts from the production and touring industries have been getting together to find solutions to the current supply chain problems that threaten to dampen the excitement after two years of no concerts. James Drury finds out more.
“We’re going to see a return to the roaring ’20s” was the refrain from the live industry last year as the global lockdowns eased and audiences seemed to be straining at the leash to get back to the concerts they’d missed so dearly. Promoters, agents and artists, keen to make up for two years or more of lost touring business, were just as eager to get back on the road. Although it was online only, the fizzing optimism of ILMC 33 could be felt through the screen.
But just as confidence grew among audiences, the knock-on effects of Covid, Brexit – and many would argue longstanding problems of low pay and long hours – are hitting the industry. There’s simply not enough crew, security, drivers, trucks, equipment, staging and everything else needed to fulfil all these shows. So what’s going on, and what can be done to solve what’s being dubbed “the supply chain crisis”?
“The live events supply chain problem is a term that is being used frequently at the moment. It’s being suggested that it has been caused by the pandemic. But that’s not necessarily true”
Production experts worldwide have teamed up across three conferences to share information about supply chain problems. They got together at ILMC in London, Pollstar Live! In Los Angeles, and EPIC at Eurosonic Noorderslag in the Netherlands to find solutions to this ongoing issue and share them with the industry through this report.
In many ways, the problems we’re facing are nothing new, as industry veteran Carl AH Martin points out: “The live events supply chain problem is a term that is being (ab)used frequently at the moment. It’s being suggested that it has been caused by the pandemic. But that’s not necessarily true. At the Event Safety & Security Summit (E3S) in 2017, a panel discussed the lack of security personnel throughout Europe due to a lack of money to pay sensible rates. In 2018/19, at both the IPM and Event Production Forum East (EPFE) conferences, there was discussion about the lack of personnel and materials.”
What challenges are we facing, and what’s causing them?
That noted, discussions on this current situation heated up in January. At EPIC, Okan Tombulca, CEO of global touring logistics specialists eps, raised alarm bells about what he saw were promoters’ intentions to squeeze two years of shows into eight months. He told the panel that we’re in a rare situation where a lack of equipment was now the deciding factor whether a gig could happen or not: “no stage, no gig,” he pointed out.
Equipment is in short supply for a variety of reasons. Tower lights are hard to get hold of because they have gone out to the construction and road-building industries; marquee and tent companies have found different markets, such as, the new £19bn (€22bn) east-west London railway, Crossrail, and use in Covid testing centres. Temporary buildings are being used as vaccination centres and temporary medical units. LED lighting is reportedly 25% more expensive than pre-pandemic, and prices for most equipment have skyrocketed. However, at Pollstar Live!, Jeroen Hallaert of PRG rightly pointed out that equipment from 2020 is still perfectly good to use. He challenged designers to use existing inventory rather than create productions using the latest tech.
In addition to not having enough production equipment to go around, there’s a severe staffing shortage. At Eurosonic’s EPIC, Oliver Gardiner from Vespasian Security in the UK, said staff have been lost during the pandemic to Covid vaccination centres. And many have left the industry – choosing instead to take full-time work in sectors that enable them to be at home more with their families or to have a better work-life balance than is offered by the music industry.
Illustrating this crisis, Martina Pogacic, who runs production company Show Production Ltd in Croatia and the Balkans, told EPIC that over 300,000 people had left the region, mainly to Germany and Ireland, while others have left the industry or died. As a result, locally promoted events are suffering. The knock-on effect is that newcomers to the industry can’t get the experience and skills they need to get fully trained.
“Not only must the show go on, it will”
Maarten Arkenbout from trucking company Pieter Smit said the increase in fuel costs and the loss of drivers to other industries means, like many firms, they are no longer able to guarantee their prices until the client confirms the work.
However, Michael Strickland, co-chair and founder of Bandit Lites, told Pollstar Live! “not only must the show go on, it will.”
But at what price? There are very real concerns that overstretched and understaffed production teams could lead to a serious accident. Even if the staffing issues are solved, production costs are skyrocketing at a time when many countries around the world are feeling the pinch of inflationary pressures. Will audiences swallow significant ticket price hikes, or will they choose to go to fewer concerts? Promoters could well be about to take some serious financial hits.
Artists also haven’t realised costs are rising and that this will reduce their income. They’re going to have to accept that for a while, they might not make as much money from touring. And while that’s less of an issue for the top flight of acts, what’s going to happen to smaller bands that make up the vast majority of the live touring industry? This is a problem that hasn’t been fully borne out yet. What effects will either massively reduced income or a lack of touring opportunities have on acts that don’t fill arenas?
“We’ve got tougher times ahead, but we can do it”
Having said all this, one thing the production industry excels at is finding solutions. “The show must go on” is a cliché for a reason, and there’s a feeling of determination to resolve this pinch point.
Paul Sergeant from international venues giant ASM Global said Covid had galvanised the industry like nothing before. “We’ve got tougher times ahead,” he told IPM, “but we can do it.”
The 7 Ps – the old British Army adage “Proper Planning & Preparation Prevents Piss Poor Performance” – has never been truer in these constrained times.
“It’s all about talking with clients. We say ‘plan to be late and over budget'”
In an effort to lock in prices and maintain some sort of stability in their budgets, some companies are seeking to contract suppliers on a longer-term basis. While this has the advantage of providing revenue security to suppliers, there’s also a downside. Bonnie May, CEO of catering and hospitality giant Global Infusion Group, said volatility in costs means it’s a struggle to ensure that margins remain sufficient over the lifetime of the contract. “How do we ensure year three is as cost-effective for us as year one?” she asked IPM.
Group COO at EFM Global, Lisa Ryan, said communication is vital. “It’s all about talking with clients. We say ‘plan to be late and over budget.’”
Consolidation of equipment
Faced with massive price increases and scarcity of equipment, more and more promoters are choosing to buy their own kit, such as staging.
Eps CEO Okan Tombulca said his company is frequently approached by promoters seeking to create joint ventures to buy equipment together – particularly in the US. He says Live Nation, for example, recently bought production for 28 stadiums and is touring eight bands through the venues, using the same set-up at all shows – much like at a festival. The bands are being told they have to use the set-ups in situ rather than bring their own production.
In Australia, the five major promoters got together, shared their lists of scheduled major shows over the next three years, and then invited vendors to make the equipment, leaving it in each of the major cities for all shows. The concept of “make it once and leave it there” is an effort to prevent huge convoys of trucks constantly crisscrossing the continent, plus the huge transport costs of getting gear there.
In the UK, Kilimanjaro-owned festival organiser UK Live already owns the kit it requires, deciding a few years back to acquire everything needed. They have toilets, staging, sound and more and are considering hiring them out to others, renting the greenfield set-ups to other promoters, or adding show days.
All this is old news for John Lickrish of Flash Events in Abu Dhabi. His company owns all its own production and has done since it formed. “When we started in 2007, we wanted to start the events industry in the region. So we trained people and invested in equipment.” He says this inspires strong loyalty in the staff, who tend to stay with the firm.
“We’ve been underpaying everyone for so long, and that’s going to come home to roost”
Pay & conditions
Long hours, being away from home for weeks or more at a time, below-average pay: life in music can be glamorous, but it’s not always attractive for everyone. A key reason for the staffing crisis is the pandemic not only saw people leave for full-time positions in other industries rather than zero-hours freelance roles. Equally, being forced to spend more time at home made them realise they preferred not being away from family and friends. So how can we attract people back?
An obvious solution is to pay people more. As Kilimanjaro CEO Stuart Galbraith pointed out at ILMC: “We’ve been underpaying everyone for so long, and that’s going to come home to roost.
You can’t blame a truck driver for working for Amazon if they can get more money and be at home at the weekends.” He predicted shows would likely be lost, sharing that a tour manager he knows has 16 shows but not enough staff to fill them all.
During that ILMC panel, an audience member reported that in Denmark, stagehands had seen a 10% increase in their hourly rates. Staging manager Mark Hornbuckle from ES Global said some stagehands were being offered increased fees from £220-$300 (€257) a day to £300 (€346). And crew boss rates are £280-£350 (€323-€498) a day.
It’s not just pay. Keeping staff and freelancers happy while they’re at work is just as important
But it’s not just pay. Keeping staff and freelancers happy while they’re at work is just as important. Flexible hours and opportunities to train and progress are vital. José Faísca from Portugal’s Arena Altice says his company helps train security staff, even though they don’t own the company. “They’ve worked with me for more than 15 years. They see our company as their own.” He says training staff, giving them opportunities to grow, a fair salary, and rights, is fundamental to ensuring motivated staff. And motivated staff will not only stay with you but ensure the customer has a great time, too.
The opportunity to work from home is also key to ensuring staff have a good work-life balance. But it’s important for people to come to the office to get the collaborative working skills and pick up and learn from others. An upside of having a flexible work-from-home set-up is you can tap into people who live far from your offices, enabling you to have even greater diversity of workforce. Global Infusion’s May said her company offers people as much unpaid leave as they want during the quieter months of January and February.
Some venues are discussing with the rigging crew about having static equipment in venues, leaving it there but providing a “guarantee of work” for riggers, so they know they’ll get paid.
There’s certainly an appetite to help recruit more young blood and train up the staff of the future
Many in the industry are calling for more production courses at universities. Plenty of people said that when they left school they had no idea about the career they’ve pursued and feel if more school-leavers knew this is a viable career, they would choose to
take it up. There’s certainly an appetite to help recruit more young blood and train up the staff of the future.
Bryan Grant from production company Britannia Row said his firm started its own training scheme as a way of making a difference and ensuring people are taught everything they need to know to start in the business. He added that they get great feedback about their trained crew, whether or not they stay with his company or go on to other things.
ASM Global’s Sergeant says Australia has a Venue Management School for venue staff that offers diplomas following successful completion of courses. “This is a career option just as much as being a doctor or truck driver or lawyer,” he says, adding the Venue Management Association-run school is very active in recruiting people from other industries, as well as people who have retired and want to try something different, such as being a steward.
“The current supply chain model is not the one we should be having for the next ten years”
While production costs increase but consumers face inflationary pressure, there’s going to be little room for passing on the cost increases to ticket holders. One solution could be to take smaller productions out. That’s not just good from a bottom-line perspective but also will be vital in the future from a sustainability point of view.
“Ultimately, all of us have to say to the artist ‘the current supply chain model is not the one we should be having for the next ten years. We can’t be driving 30 trucks around Europe and saying this is how it’s going to be on the stage every time,” said Galbraith.
Flash Entertainment’s Lickrish said the Middle East doesn’t usually get the full production – and he doesn’t miss it at all. “It’s all about the crowd experience. Them having a good time is the most important thing,” he said.
“Cutting back on these productions will benefit the artist, too – because they spend less. The audience won’t notice. While bells and whistles are great, it’s about having a wonderful time.”
Not only this but audiences will increasingly be looking to artists to think about sustainability when touring. It won’t be socially acceptable for touring to have a huge impact on the environment.
“The solution to supply chain issues is cooperation and sharing of information because together we’re more efficient
Collaboration is key
One of the best things to come out of Covid was the level of cooperation happening in the industry. Competitors talked to each other, and the whole industry came together to support each other, find solutions, and work as one.
Says Galbraith: “If there’s one conclusion, the solution to supply chain issues is cooperation and sharing of information because together we’re more efficient. We’re going to see this level of cooperation for the next decade for sustainability reasons and more.”
It might sound ambitious, but we’re facing unprecedented times. The immediate health impacts of Covid may be lessening for now, but the knock-on effects are just as challenging and will require an equally collaborative approach to resolve them.
Get more stories like this in your inbox by signing up for IQ Index, IQ’s free email digest of essential live music industry news.
Sensible Events’ Andrew Zweck joins IPM 15 line-up
Sensible Events founder Andrew Zweck is the latest big name speaker lined up for the 15th-anniversary edition of the ILMC Production Meeting (IPM).
Taking place on 26 April, the day before ILMC (International Live Music Conference), IPM will return to an in-person format in 2022 with its biggest programme yet.
This year’s edition will feature a series of key production group and trade association partnerships, as well as a second programming tranche by the Event Safety & Security Summit (E3S).
Live Aid production veteran Zweck, who has served as agent and producer of worldwide tours for the likes of Roger Waters, Depeche Mode and Mark Knopfler, will be lending his wealth of experience the two-part Covid & Brexit: The Perfect Storm mega-panel, chaired by Bonnie May from Global Infusion Group and Okan Tombulca from eps.
“I’ve never forgotten that I started in the back of a truck,” says Zweck. “That has stood me in good stead.”
Zweck will be joined by fellow panellists ASM Global APAC’s Paul Sergeant, Jose Faisca of Lisbon’s Altice Arena, EFM Global Logistics director Lisa Ryan, Kilimanjaro Live head of major events Anna Golden, Wizard Promotions’ Julia Frank, show director/stage manager Asthie Wendra and production manager Phay Mac Mahon, recipient of IQ Magazine’s 2022 Gaffer Award.
“We will be talking and listening to each other and learning about subjects relevant to the production industry”
Alongside the previously announced A Seat at the Table, Veterans and Rookies, the second main morning panel, The Power of Energy, will look at not just what energy solutions are available but also what different parties use and how we can decide on and manage the best sustainable options at event sites, tours and in different-sized venues.
The session is chaired by long-term IPM attendee Duchess Iredale from EPI ltd in Ireland, who will be joined by Jacob Bilabel (Green Music Initiative/Aktionsnetzwerk Nachhaltigkeit, Germany); Padraic Boran (MCD Productions, Ireland); Amy Casterton (ES Global Ltd, UK); and Pete Wills (Power Logistics, UK).
In addition to the four main panels, three production notes will take place throughout the day: The PSA presents…, The Weather Maturity Curve, and Fight or Flight Case: A Mental Health Update, alongside IPM’s Carl A H Martin’s special lunchtime Q&A with Penny Mellor, in which the health & safety/welfare expert will discuss her lifetime of experience on the frontline at festivals.
“The IPM has been part of my life almost since its inception, so imagine how I felt the last couple of years having to sit at home, in front of a screen, talking to people’s heads and shoulders as we ran virtual bloody conferences,” says IPM advisory group chair Carl A H Martin.
“Imagine then how excited I am going to be to be part of a live event. On 26 April, I will be at the IPM along with new and old friends from all around the world – not just the UK, we are international. We will be talking and listening to each other and learning about subjects relevant to the production industry.”
The afternoon at IPM will focus entirely on crew and resource shortages
The afternoon at IPM will focus entirely on crew and resource shortages and how everyone is getting back on their feet after the last two years, in the aforementioned two-part mega panel Covid & Brexit: The Perfect Storm.
Given the huge amount of content, all the main panels will be recorded and made available for delegates to watch on-demand for a month after the event has concluded.
Meanwhile, E3S sessions will run throughout the day, including a Crowd Management Tabletop created and delivered by the Yourope Event Safety Group (YES) & Mind Over Matter Consultancy (MOM), a ‘Crowd Communication and Behaviours’ panel, and a discussion around ‘Rethinking Risk And Building Resilience in Event Operations’ – both in association with EAA, UKCMA and the Global Crowd Management Alliance.
Get more stories like this in your inbox by signing up for IQ Index, IQ’s free email digest of essential live music industry news.
IPM Says! returns with second virtual panel
The second virtual IPM Says! panel took place this morning (2 June), welcoming five international event professionals to discuss the current state of the production sector and a positive way forward from the shutdown.
Joining host Carl AH Martin for “It ain’t all Doom & Gloom!”: The sequel – which followed June’s inaugural IPM Says! session – were Lisa Ryan of EFM Global Logistics, Dutch Music Export’s Marcel Albers, Nick Love of the UK’s Assess All Areas, Sanjin Corovic of Serbia’s Production Pool and Sophie Ridley from Safents Consulting (Ireland).
After referencing today’s #LetTheMusicPlay campaign in the UK, which is calling for government support for the beleaguered live industry, Martin asked to share their own experiences of the past four months, as well as how their local markets have adapted to the coronavirus crisis.
Ryan said the global production sector’s recovery relies on lifting on restrictions on both mass gatherings and border crossings. “The fact that there’s no consistency and no real certainty around who can travel, and whether they have to quarantine when they get there” is preventing the industry getting restarted, she suggested.
Albers praised the Dutch government response in the early days of the crisis, when authorities stepped in to stop production companies from collapsing. However, he said he shares Martin’s concern that many smaller firms may still go under, saying that future aid must be distributed fairly in order to ensure the survival of businesses of all sizes.
“Some events are happening … It’s not much, but it’s something”
In response to a question from Miller’s Martin Goebbels, which asked whether production staff would be willing to work uninsured while Covid-19 is still a threat, Love said crew must decide for themselves. “There will be some who will take the risk, and there’ll be others who want to be cautious about their health and won’t go back to work,” he explained. Love suggested it would be very unlikely for events to be face any legal action as a result of any infection, explaining: “There’s no way to prove the outbreak originated at any one point in time.”
Ridley suggested disclaimers could be the answer to liability concerns, noting she is involved in a television production on which everyone has to sign one. “Whether it holds up, whether it can actually be enforced” is debatable, she said, “but we are having to sign a disclaimer.”
Describing the situation in Serbia, Corovic said events look likely to return later this year. “I’m not thinking as far as next spring; I’m thinking about autumn or winter,” he said. “Some events are happening and I think they’ll generate some kind of income. It’s not much, but it’s something.”
Watch the full discussion back on YouTube above.
Get more stories like this in your inbox by signing up for IQ Index, IQ’s free email digest of essential live music industry news.
Debut IPM Says! panel highlights live’s resilience
The inaugural virtual ILMC Production Meeting (IPM) panel, IPM Says!, took place last week, with eight live event production professionals coming together to discuss positive ways of moving forward from the ongoing coronavirus crisis.
IPM’s Carl A H Martin chaired the panel, entitled It Ain’t All Doom and Gloom, which reflected on the resilience of the industry, the creativity of those within it and the road to recovery.
ITB agent Steve Zapp stressed that different markets were moving at different speeds, with “very little” currently possible in the UK. However, whereas the earlier weeks of the crisis had been characterised by cancellations and postponements, conversation has now turned to recovery.
Andy Lenthall from trade association Production Services Association (PSA) said while members were currently doing little in live events, the organisation has been busy helping them to navigate this “temporary normal” and “helping people to help themselves”.
“I have faith in an industry that is resilient and full of resolve to get back to work,” said Lenthall, who stated he was looking forward to the release of UK government guidance on how to get back to work safely.
For Sarah Hemsley-Cole, company director of Cardiff-based SC Productions, work has not fully come to a halt, with the company getting involved in various products, including helping to set up a makeshift field hospital at the Principality Stadium.
“I have faith in an industry that is resilient and full of resolve to get back to work”
Vatiswa Gilivane, business development manager at the 20,000-capacity Ticketpro Dome in Johannesburg, said her team has also found alternative ways of working, with events still prohibited in South Africa.
“We had to change the way we think,” said Gilivane. “We could no longer rely on others to bring us opportunities, but had to use our own expertise and start creating our own content.”
Máté Horváth from Hungary’s DDW Music said things are opening up in the country for open-air shows, with some venues now also beginning to open up in different ways, acting as beer gardens, for example, in order to generate some revenue.
The ban on large-scale events in Hungary expires on 15 August, said Horváth , “so there could be some major festivals going ahead after this date, with a line-up of domestic acts”.
In general, shows are being moved to 2021, added Horvath, and although this may be a less optimistic scenario, “it is much more secure” and likely to be better for the industry in the long run.
Alberto Artese from Italian industry organisation Assomusica said that live shows will be permitted again in Italy in the next week “but there will be many rules”. From 15 June, 1,000 fans will be allowed at open-air shows and 200 people – including staff and artists – at indoor shows.
“We could no longer rely on others to bring us opportunities, but had to use our own expertise and start creating our own content”
The viability of capacity limits and social distancing measures was a talking point for panellists, with many stressing the importance of proper collaboration between the industry and national governments.
ASM Global’s Paul Sergeant OBE spoke of the newly formed Live Entertainment Industry Forum in Australia, which acts as a conduit between the live industry and the government, developing a way to safely reopen events.
Neighbouring New Zealand is lifting all restrictions on live events this week, focusing on contact tracing to prevent outbreaks of the virus, rather than relying on social distancing measures. “We’d like to think Australia might follow suit in the not too distant future,” said Sergeant.
The Department for Culture, Media and Sport in the UK has similarly asked for industry input on how to reopen safely, said Lenthall.
“Every government around the world sees the value of live events, but we are going to be the last to reopen as we are the most challenging environment.”
Lenthall stressed that social distancing cannot be a financially viable solution for live events. “Globally, we will see a different approach that doesn’t include distancing.”
“Every government around the world sees the value of live events, but we are going to be the last to reopen as we are the most challenging environment”
For Zapp, one of the most encouraging things throughout the crisis has been the “incredibly low” number of refund requests, which indicates that fans are keen to get back to events and has helped to avoid “massive problems” with cash flow.
Chrissy Uerlings of Germany’s CU Production Gmbh summed up much of what had been said, pointing out that problem solving and coming up with creative solutions had become key, something that the live industry has always excelled at.
“We have to be smart and it was clear that, for many of us as freelancers, we had to do this on our own.
“If you let loose, then you have two hands free – and that makes you creative.”
IPM gears up for 13th year
The 2020 edition of the ILMC Production Meeting (IPM) is taking place in a week’s time in London, hosted by Rod Laver Arena’s Meagan Walker and featuring representatives from 25 different countries.
Now in its thirteenth year, IPM has established itself as a leading gathering for international production professionals, hosting over 200 of the world’s top production managers; health, safety and security specialists; crewing companies and production suppliers over the years.
Eps CEO Okan Tombulca is heading up a panel on show cancellations, along with panellists Tim Worton (ASM Global), Benjamin Hetzer (FKP Scorpio), Martin Goebbels (Miller Insurance) and Graham MacVoy (GMC Events). The session will look at the many reasons for cancellations of both indoor and outdoor events and the best ways to manage them, using case studies from some recent “successful” event cancellations.
The changing nature of stage production and design will form the focus of a panel chaired by Sportpaleis Group’s Coralie Berael, which will look in particular at how technology has changed show production in recent years. Mark Ager from Tait and Constantin Covaliu from Emagic will join Berael on the panel, along with international production manager Wob Roberts, who is currently working with Sam Smith, having previously served as Robbie Williams’ production manager.
“There is going to be an amazing amount of experience in the room”
IPM delegates will also hear about the challenges of working in expanding markets in a session led by Star Live’s Roger Barrett and featuring Brigitte Fuss of Megaforce, Sanjin Corovic from Production Pool and Helen Smith from Helsprod Ltd.
Grassroots venues will be in the spotlight for the Small Venues: Does size really matter? panel, featuring speakers from the Small Venues Network, Forum Karlin, DDW Music and Eventim Apollo.
Elsewhere in the IPM programme, Carl A H Martin will lead a discussion on the topical Martyn’s Law, representatives from transport company Pieter Smit will broach the issue of sustainable trucking and a yoga session will help delegates to relax.
“The IPM allows us all to talk about what involves the production of live music today,” comments Carl A H Martin, chairman of the IPM Advisory Group.
“We can talk sensibly, safely, internationally and, as always, be ahead of the ‘trends’. Truth is, most of the time we set them…
“If you are not amongst those from 25 countries that have already signed up, visit the website and get to it.”
“Although it is an honour to be producing this event, I wish I could attend as a delegate,” adds IPM producer, Sytske Kamstra. “There is going to be an amazing amount of experience in the room.”
IPM is taking place at the Royal Garden Hotel in Kensington, London on Tuesday 3 March, the opening day of the International Live Music Conference.
Budapest prepares for EPFE 2019
Panels have been announced for the third annual Event Production Forum East (EPFE) summit, which takes place at Akvárium Klub, in central Budapest, on 15 November 2019.
EPFE attracts event professionals working in the central and eastern European (CEE) market, and this year is also opening its doors to all levels of production, venue management, promoters, F&B and supply personnel to benefit from the shared knowledge and debate.
Carl AH Martin, host of EPFE, as well as the ILMC Production Meeting (IPM), states: “Over many years attending and running international panels, I have experienced that the focus tends to be on only the top end of the industry – so arenas, stadia and large festivals are all that are talked about.
“We want to encourage best practice filtering to all corners of the industry, so this year we will be compensating for the other end of the market and making a real effort to be inclusive for venues from 25- to 5,000-capacity.”
EPFE will continue in the same format with four major sessions. In addition to the venues and festival panels, delegates will hear about health and safety and from the ever-entertaining “dinosaurs’” panel featuring respected industry stalwarts.
The day will be scheduled with two sessions either side of lunch and coffee breaks, followed in the evening by a free networking dinner and drinks. In the morning delegates will hear about “what are the normal situations and aggravations to be dealt with, from artist riders, production (in-house and tour requirements), selling the gig, regulatory requirements and, of course, the audience,” according to Martin.
“‘The industry is as advanced here as it is throughout the western world, it just doesn’t shout about it’”
Organisers also hope they can connect with other European conferences and maintain a thread to the discussions so that key outcomes are shared, discussed and moved forward faster, Martin adds: “Another item of perennial conference discussion is health and safety. The normal comment is, ‘not again!’ Well, this is an item that will not go away.
“What we want to do is to pick up the discussion here and persuade other conferences, such as Eurosonic and IPM, to continue the theme. [EPFE 2019] will be talking about this, honestly, in a completely different way of thinking.”
“Although the outside world does tend to think that this area is a ‘developing’ market, that’s true. Bryan Grant, from Britannia Row Productions, was a panel member last year and confirmed to the audience that, ‘The industry is as advanced here as it is throughout the western world, it just doesn’t shout about it! People from outside could learn a lot…’”
Tickets cost €55 and are available at www.tixa.hu/epfe2019.
IPM returns on 4 March 2020. More information will be available shortly.