We for India benefit show raises $5m for Covid relief
We for India, a livestreamed fundraising event featuring performances from Ed Sheeran, Nile Rodgers, Annie Lennox and AR Rahman, raised more than US$5 million for the India Covid Response Fund, organisers have announced.
Held on Sunday 15 August 2021, India’s 75th independence day, the show featured more than 100 musicians, actors, film directors, TV stars and other celebrities and was broadcast to a global audience on Facebook. Other participants included Steven Spielberg, Mick Jagger and Indian film stars Ajay Devgan, Hrithik Roshan, Nagarjuna and Arjun Kapoor.
Shibasish Sarkar, group CEO of Reliance Entertainment, which organised We for India in association with GiveIndia, Facebook and the UN platform The World We Want, says: “The honest and sincere effort of our team and our partners is the reason behind the great success of this event. I would like to extend my gratitude to all the talent, artists, philanthropists and everyone who supported this fundraiser. It is our humble contribution to our nation’s ongoing battle against the invisible enemy.”
“I would like to extend my gratitude to all the talent, artists, philanthropists and everyone who supported this fundraiser”
The money, around 370m rupees, was raised from a combination of corporate partners, philanthropic foundations and individual donors, reports IANS. It follows a similar event, I for India, which raised $7m in May 2020.
Atul Satija, CEO of GiveIndia, comments: “We are grateful for all the support we have received from each and everyone who donated and came together to make We For India such an impactful journey. Thank you for making it a success and contributing to our India Covid Response Fund. We all know that the pandemic and the suffering it has caused is far from over. We for India is a great, timely initiative to remind us of the need to continue to provide humanitarian aid and strengthen our health infrastructure.”
“The great success of this initiative is the result of the collective efforts of so many people, and truly epitomises the power of communities,” Manish Chopra, director and head of partnerships for Facebook India, adds. “As Facebook, we are proud to have supported the voice of leading artists from all over the world and partnered Give India and Reliance Entertainment in this laudable effort towards Covid relief.”
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Festival Safe releases Covid-19 festival guide
UK festival safety initiative Festival Safe has released a new guide that aims to make fans aware of how Covid-19 will affect the festival experience, as well as steps to take to keep each other safe.
The Festival Safe site, launched by festival organisers in 2018, offers festivalgoers a one-stop shop for information on every aspect of going to festivals, from what to expect before you go to camping, crime, drugs, alcohol and sexual and mental health.
The new Covid-19 section on Festivalsafe.com provides information on expectations around social distancing, mask wearing and vaccinations, what to do if you develop Covid-19 symptoms at a festival, setting up and using the NHS (National Health Service) Covid Pass for events and more.
Festival Safe founder Jon Drape (Engine No 4) says: “With festivals getting going again, event organisers want to make sure that we are supporting our customers to understand what will be expected of them in the post-Covid-19 season, as well as letting them know what we are doing to help keep them safe.
“Event organisers want to make sure that we are supporting our customers to understand what will be expected of them”
“There is so much new information for people to take in, we have collated this in one place and in simple terms so everyone knows what to expect.
“We are also very aware that there will be thousands of young partygoers attending events for the first time this summer, and we hope the wider site will be really useful for them in understanding what to expect and getting prepared before they go.
“After a year of no partying, we also want to remind people that tolerance levels to alcohol and other drugs may be greatly reduced. There is lots of practical information on the site about how to reduce harm and stay safe.”
In addition to fans, Festival Safe is available to all organisations invested in promoting wellbeing and safety at their events, says the organisation. Event organisers can request access to Festival Safe’s assets through the partners area on the website.
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Learning from the pandemic: The importance of clean air
After a crippling year for the music sector, hope is on the horizon as the world tarts to reopen and people look forward to seeing live music return to the stage. However, the industry still faces several obstacles to tackle as it navigates reopening. Many venues are still unable to operate at full capacity, and it is understandable that people may be hesitant to attend live music events, especially amongst crowds in poor or unventilated indoor venues.
The Covid-19 pandemic has shone a light on the importance of indoor air quality, with the British Medical Journal recently sharing findings of how SARS-CoV-2 particles behave indoors. The team of scientists examined how SARS-CoV-2 particles can behave like a cloud of exhaled smoke, being most concentrated at ‘short range’ distance (<1m). However, particles dispersed over longer distances (>2m) can linger in the air for hours, posing risks to those exposed even after the original source has left. The risk of indoor particle transmission is highest in indoor environments lacking proper ventilation and is a huge reason for indoor venues and workplaces having to stay closed for the time that they have. The Building Engineering Services Association and scientists around the world are calling for improvements to building ventilation and to have the current regulations completely rewritten to bolster safety standards.
Despite a renewed focus on indoor air quality and ventilation after the pandemic, there is still not enough being done to actively clean indoor air and encourage patrons to return to indoor events venues. There is a key opportunity for event organisers and venue managers across the music sector to future-proof venues, using innovative technologies such as air quality monitoring and management systems to monitor and control the air, removing pollutants in real time. As clean air technology experts, we understand that the safety and wellbeing of your staff and clients is of the utmost importance. Technologies using HEPA filtering with advanced DFS technology that permanently removes ultra-fine particles from any space, and instant monitoring and reporting, make a huge difference to the safety of indoor air, killing pollutants and providing managers with accurate data and controls – these solutions far exceed the European Guidelines EN 1822.
Ensuring the solutions that you choose are chemical- and ozone-free is crucial; we should not be creating a healthier space by adding new problems to the environment with technology such as plasma, bi-polar and ozone generation. These systems while killing bacteria, add further pollution sources into the space with microorganisms. Seeing solutions implemented by venues will give newfound confidence to people wanting to return to events spaces, as well as peace of mind for event managers wanting to ensure the safety of customers. This is of particular importance to the music industry, where spaces are often not just indoors, but without any access to outdoor ventilation.
Technology designed to clean up indoor air … will help live music bounce back in the safest way possible
Crucially, the responsibility should not just be on event organisers and venue managers to implement such solutions. The music industry will surely welcome recovery funding along with guidance around testing and capacity for holding events. However, guidance and funding must also be provided around solutions to indoor air quality, ensuring venues do not have to close again and that they are well-prepared for future waves of Covid-19 or other seasonal viruses. With awareness around indoor air quality and how to manage it so low, it is essential that businesses are provided with proper statutory guidance and advice.
Indoor air quality management also goes further than responding to the pandemic. The long-term health impacts of polluted air are widely noted but rarely acted upon, with people living and working in dirty air far more likely to suffer from issues such as asthma and COPD. What’s more, working in clean air is shown to have a positive effect on worker productivity and happiness. Harvard University has carried out studies on the impact of improved indoor air quality in workspaces, finding that high-performing, green-certified buildings resulted in far greater productivity and health outcomes for employees. In 2015, research found that improving the ventilation of buildings improved the performance of workers by 8%, equivalent to a USD $6,500 increase in employee productivity each year. As well as positive impacts on productivity, the Harvard Business Review last year cited studies that showed significant decreases in employee output as both indoor temperature and rates of outdoor air delivered inside increase. All in all, analysis of sick leave data found that 57% of all time off for illness was due to poor ventilation.
This is why indoor air quality solutions could also bring long-term benefits to those working in the live music industry. The case for investing in innovation grows even stronger when it comes to considering those working and performing in smaller spaces such as sound and lighting booths and recording studios where air quality and circulation is poor. When it comes to live events, those such as organisers, managers, technicians, bar staff and musicians themselves who spend much of their working days in indoor spaces would no doubt be helped by the monitoring and filtering of dirty indoor air. Innovation can drastically change the future of air quality in live music, and even now at OKTOair we have the capabilities to disinfect the air in spaces, chemical and ozone free, ranging from 500 square feet to one million square feet, offering concertgoers ultimate protection and peace of mind.
There are a number of reasons for the live music industry to turn its eye to innovative technology designed to clean up indoor air. Not least will it help live music bounce back in the safest way possible, giving confidence to consumers and venues alike, it will also help ensure that those integral to the backbone of culture can work in safe, clean spaces designed for the future.
Philip Dowds is managing director of OKTO Technologies.
International test events underline concert safety
As businesses and individuals in the UK come to terms with the government’s decision to delay the sector’s reopening by a further four weeks, a growing body of evidence demonstrates that concerts, festivals and other live events held under controlled conditions do not contribute to an increase in transmission of Covid-19.
Data gathered from test events across various European countries is building a picture that if every member of the audience is tested prior to a show, and only those who return a negative test are admitted, the chances of them being infected with Covid-19 during the show are extremely slim.
Crucially, despite the pilot shows listed below using different audience configurations, all of them tested participants before and after the event, and all were hailed as successful both by organisers and by the scientists who monitored the health aspects.
Examining the published evidence of different test events around Europe makes for fascinating reading, albeit with very similar results…
Zero positive cases of Covid-19 were detected seven days after test events in Spa and Namur, neither among the participants nor the control group, the company in charge of testing at the shows, DNAlytics, announced in May.
Those events were the first of six pilot experiments organised in the cultural sector by the Wallonia-Brussels Federation. “In the case of Spa, they establish quantitatively that the organisation of an indoor concert can be envisaged with safety, according to an audience size of 50% of the hall’s capacity and by applying the barrier gestures that have become familiar to us,” says Thibault Helleputte, CEO of DNAlytics.
“In the case of Namur [an outdoor event], the results show that, provided some basic health rules are followed, attendance at a show is not associated with a measurable increase in coronavirus contamination.”
“Concert halls and theatres are not places of infection”
A scientific study in Germany of the movement of airborne particles in an indoor environment showed a negligible risk of infection in properly ventilated concert venues.
The test, using a robot, at Dortmund’s 1,500-seat Konzerthaus, was carried out over three days in November by the Fraunhofer Heinrich Hertz Institute of Goslar and particle measurement company Parte Q, with the backing of Germany’s Federal Environment Agency. It followed August’s Restart-19 study (using human participants) by the University Hospital of Halle, which concluded that, with adequate ventilation, live events posed a “low to very low” risk of person-to-person transmission.
“Concert halls and theatres are not places of infection,” says Dr Raphael von Hoensbroech, director of Konzerthaus Dortmund. “The past few months have shown that politics needs a scientifically sound basis for decision-making. With our study, we want to ensure that concert halls and theatres may again admit sufficient audiences when they reopen.”
The Konzerthaus Dortmund study followed the first pilot show, the similarly successful Restart-19 in Leipzig, in August 2020, which provided the template for subsequent events internationally.
In Barcelona, the indoor concert setting did not increase the coronavirus risk
Festivals per la Cultura Segura, the organiser of a Barcelona pilot concert in March, also reported that the event had no impact on Covid-19 transmission among attendees, despite the lack of social distancing observed at the show, which had 5,000 attendees.
Having analysed the data, doctors from the show’s medical partners concluded that the indoor concert setting did not increase the coronavirus risk – with concertgoers exhibiting a lower incidence of Covid-19 than the general population in Barcelona at the time.
While the use of a medical-grade FFP2 mask was mandatory, there was no social distancing among fans, who were separated into three areas, once the show got underway.
Of the 4,592 concert attendees who gave consent for the doctors to analyse Covid-19 tests taken after the event, six tested positive for Covid-19 within 14 days of the Barcelona show (and additional analysis suggests that four of the cases originated outside the concert). Those six represented a cumulative incidence of 130.7 cases of Covid-19 per 100,000 inhabitants, far lower than the 259.5 cases/100,000 people in the city’s population at the time.
Three months’ worth of pilots in the Netherlands proved the risk of infection, when following certain hygiene and testing protocols, is about the same as being at home
Perhaps most compelling are the findings from three months’ worth of pilot events in the Netherlands which proved that the risk of Covid-19 infection, when following certain hygiene and testing protocols, is about the same as being at home.
Organiser Fieldlab Evenementen included a series of events in its programme, including the Eurovision Song Contest in Rotterdam which was attended by 3,500 fans, but also business conferences, festivals, arena shows, an awards ceremony and outdoor sports events in a range of formats and capacities.
According to Fieldlab’s data, 100%-capacity events are possible under the Netherlands’ lower two risk levels (caution and concern), with a reduction in capacity necessary for levels three and four (serious and severe, respectively).
Fieldlab’s Dimitri Bonthuis says, “Provided you take the right measures, the risk of getting infected at a Fieldlab event is the same as at home.”
Just 15 positive cases of Covid-19 – equivalent to 0.026% of attendees – were recorded among 58,000 people at UK pilots
British culture secretary Oliver Dowden described recent UK pilot shows as “a real success”, noting that just 15 positive cases of Covid-19 – equivalent to 0.026% of attendees – were recorded among 58,000 people during recent pilot events.
On the back of those figures, Dowden said he was “very hopeful” the full reopening of venues, theatres and clubs without social distancing would take place on the target date of 21 June, though this didn’t come to pass.
While the ERP has yet to be released, Dowden has confirmed there were no positive cases from the Brit Awards, which took place with an audience of 4,000 at the O2 in London last month.
There were two positive Covid-19 tests from the ERP’s Sefton Park Pilot, in Liverpool, which involved 5,000 fans, while nine cases were detected among the 6,000 clubbers who attended two dance events, also in Liverpool.
Zero cases were reported from a football match at Wembley, but four infections were detected at the Crucible Theatre in Sheffield, which hosted 17 days of the World Snooker Championship.
No social distancing was in place at any of the ERP events, which used lateral-flow tests to check attendees for the coronavirus prior to entry.
This article forms part of IQ’s Covid-19 resource centre – a knowledge hub of essential guidance and updating resources for uncertain times.
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.”
Seated concerts don’t stand up, say French campaigners
French live music associations have initiated a push for their members to be allowed to reopen at full capacity, saying the current ban on standing concerts prevents the return of live music in any meaningful way.
In a new campaign, Les concerts assis, ça ne tient pas debout (‘Seated concerts don’t stand up’, or less literally ‘Seated concerts don’t hold water’/‘Seated concerts don’t make sense’), the SMA (Union of Contemporary Music) and Fedelima (Federation of Contemporary Music Venues) demand that standing shows be allowed from 1 July, saying live music should have parity with other sectors as society begins to reopen this summer.
Concerts have been permitted in France since 19 May, albeit at 35% capacity. As of today (9 June), that has been increased to 65% of capacity, though all shows must be seated.
While culture minister Roselyne Bachelot has suggested standing shows could be allowed from July, they would still be subject to social distancing regulations, with no more than one person every for every 4m² of space in the venue, making most events unfeasible financially.
“Standing is an integral part of the aesthetic and social experience of live music”
Therefore, “without any medical justification, seated shows could from 1 July even have more spectators than the standing configurations,” note the associations.
In a statement, Fedelima and SMA, which between them represent hundreds of live businesses, say all the aid provided to the sector to enable it to survive the pandemic will have been nothing if venues are not allowed to reopen at full capacity from 1 July.
“[A]t a time of the resumption of all activities in society, it is inexplicable that only seated configurations can resume,” they say. Standing concerts, they add, “are an integral part of the aesthetic and social experience of contemporary music” and a “symbol of freedom and equality”.
Therefore, “the whole of the contemporary music sector – music venues, festivals, producers, labels, radio stations, schools and associations – are launching this call today: Les concerts assis, ça ne tient pas debout.”
UK industry anxiously awaits government announcement
The UK’s live entertainment community is holding its breath for the government’s long-awaited 14 June Covid briefing, after speculation started to emerge over a proposed delay in allowing venues and festivals to reopen without restrictions.
With 21 June stated as the day when the government wants all restrictions in England to end, the spread of the so-called Indian variant of Covid-19 (also known as the Delta variant) in certain cities and communities is reportedly prompting scientists and government advisors to push for a delay from anywhere between two to four weeks.
The threat of such a postponement is being met with frustration and anger in parts of the live events industry, with luminaries such as Sir Andrew Lloyd Webber threatening legal action, while other businesses great and small worry if their return-to-work policies for staff have been activated too prematurely.
For others, any delay could prove far more damaging.
“It could be the final nail in the coffin for many grass roots venues,” exclaims Music Venue Trust (MVT) CEO Mark Davyd. “If they are prevented from reopening their doors, building landlords may cancel their lease and we will end up losing these venues for good.”
That’s a sentiment echoed by Phil Bowdery, chairman of the Concert Promoters Association. “It’s critical that the government proceeds with its plans to end restrictions on 21 June. By its own admission through the Events Research Programme (ERP), large-scale events are inherently safe so long as the right precautions – in the form of testing – are in place.”
Speaking to the Daily Mail newspaper, composer Lloyd Webber, who owns seven West End theatres, is questioning the legality of the government retaining social distancing rules beyond 21 June, especially when the ERP’s test shows have proved that there is no greater risk of infection at concerts and other live events.
“If the schools, pubs and restaurants are allowed to remain open, but live music venues are prevented from reopening, it makes no sense whatsoever”
“If the government’s own science has told them that buildings are safe, I’m advised that at that point things could get quite difficult,” says Lloyd Webber. “This is the very last thing that anybody wants to do, but there would [be] a legal case at that point because it’s their science – not ours.”
MVT founder Davyd is equally bemused. “Government has laid down the criteria over whether live music and other performances could return to normal. We’ve met that criteria and now it seems like they are still thinking about keeping live music venues closed when there’s absolutely zero evidence to show that they change the transmission of the virus.
“If the schools, pubs and restaurants are allowed to remain open, but live music venues are prevented from reopening, it makes no sense whatsoever,” adds Davyd. “Keeping the Cheese & Grain [850-cap.] venue closed in Frome – where there is no Covid infection – is not going to help the infection rate up in Blackburn.”
The Night Time Industries Association has also said it will “challenge” the government if there is a delay to 21 June. “The decision to delay will leave us no other option but to challenge the Government aggressively, standing alongside many other industries who have been locked down or restricted from opening,” says CEO Michael Kill.
Rumours over a U-turn on the 21 June roadmap deadline began circulating last week when the Independent Sage group of scientists warned that the rise of the Delta variant in the UK could soar if England’s lockdown ends as planned.
“As things stand, it is very difficult to justify progressing with the last stage of the roadmap, scheduled for 21 June, a point that should be made now, to modify current false hopes,” said Independent Sage.
“Public Health England figures released on June 3 suggest that the Delta variant has spread widely across the UK and is continuing to spread, that it has higher infectivity than the previous circulating variant, and that it is more likely to cause disease and hospitalisation.”
“There would be a legal case at that point because it’s their science, not ours”
Government advisors will also be analysing data that shows the Delta variant is rare in people who have been vaccinated, while hospitalisations throughout the UK are currently flat, rather than rising as the infection spreads.
However, adding more uncertainty over the deadline, Health Secretary Matt Hancock said, “It’s too early to say what the decision will be about step four of the road map, which is scheduled to be no earlier than June 21.
“Of course, I look at those data every day, we publish them every day, the case numbers matter but what really matters is how that translates into the number of people going to hospital, the number of people sadly dying. The vaccine breaks that link, the question is how much the link has yet been broken because the majority of people who ended up in hospital are not fully vaccinated.”
Meanwhile, those living in the Greater Manchester and Lancashire areas – where Covid is spreading fast – were today placed under new travel rules to combat spiralling Delta variant cases.
Residents are being advised to minimise travel in and out of the areas, while the army is being brought into the region to replicate the widespread vaccination drive that it helped to roll out in the neighbouring city of Bolton, under similar circumstances, in May.
IQ understands that the UK government is planning to make its final decision on the 21 June reopening as late as Sunday 13 June, or even the day of the announcement, Monday 14 June, meaning that the data gathered over the remainder of this week will be crucial.
In recent days the indication is that the average number of daily cases is now slowly rising in the UK. Figures for yesterday (8 June) reveal 6,048 new confirmed cases, but just 13 deaths of people who had tested positive for Covid-19 in the past 28 days.
“Government now needs to kickstart the ‘new normal’ economy rather than continuing to dither”
Nevertheless, a number of towns, cities and communities are experiencing sharp rises in case numbers due to the Delta variant, which is known to spread quicker than other variants, leading the Sage scientists and other experts to predict that the country may be on the verge of a third wave of infections.
But should the government bow to pressure, the timing of such a disappointing announcement will be scrutinised, given that on Sunday (13 June), 22,000 football fans will be in Wembley Stadium for England versus Croatia in the European Championships.
At press time, it was announced that the game would be the first sporting event at which so-called vaccine ‘passports’ will be used in the UK, with attendees required to show proof of full vaccination, with both doses having been received at least 14 days before the match. Those not fully vaccinated must show proof of a negative lateral flow test taken within the previous 48 hours.
The timing of the game is not lost upon Davyd. “We’ve basically asked the government that whatever position they take it should be a logical one,” he says. “Not allowing venues and festivals to reopen is not going to change the transmission rate.
“As far as I see it, they have two options: they can reopen everything; or they can announce that some things they have already allowed are increasing the infection rate and they should be closed down. But keeping other businesses from reopening – when they have not played any role in the infection rate rising – just doesn’t make any sense at all.”
Equally as frustrated, CPA chief Bowdery underlines the plight of hundreds of thousands of people and business that rely on live events for their income. “Government now needs to kickstart the ‘new normal’ economy rather than continuing to dither, helping to secure the future of the live music sector, which currently hangs in the balance,” adds Bowdery.
US inventor patents ‘thermometer of the future’
An American inventor has patented a new thermometer design he says will allow the taking of temperature readings without physical contact at live events such as concerts and sports matches.
The patented design, for a ‘method and device for measuring subject’s body temperature’, combines a hands-free temperature reading device with a clear face shield, allowing venue staff to take the temperature of patrons while still keeping 6’ (2m) social distance. Public venues in many countries take patrons’ temperature on entry, as as a fever or high temperature is one symptom of Covid-19.
Jacob Gitman, who is credited as co-inventor of the thermometer device, tells Coach & AD: “Previous non-contact thermometers are problematic in this world of social distancing, as it is necessary to get close enough to take a reading. The face shield also provides extra protection for the operator, while the hands-free element means passing between multiple users can be done more safely.”
Current thermometers rely on operators getting well within 2m of the person being tested to ‘fire’ the temperature gun at their head. With the Gitman design, the operator aims their head-mounted pointer at the subject’s head, whereby the temperature is measured and appears on the operator’s display.
“Previous non-contact thermometers are problematic in this world of social distancing”
The device is just one of 18 patents held by Gitman, who also owns Florida-based logistics company Faster Freight.
He tells the Saturday Star that “after conducting comprehensive market research throughout the event industry, we found that demand for such an invention was very high. We bring together the world of data and detection and the worlds of event production, sports and even law enforcement.”
According to Gitman, the new thermometer can be “used at the entrance to absolutely any venue: event halls, airports, hospitals and educational institutions, just to name a few.”
He and his business partner, Victor Lander, began development on the device shortly after the coronavirus outbreak in early 2020.
This article forms part of IQ’s Covid-19 resource centre – a knowledge hub of essential guidance and updating resources for uncertain times.
Plotting the path back: Live music tests its mettle
Historically, the live music business has relied on an army of creative minds to deliver once-in a-lifetime experiences for fans, but as the industry slowly starts to emerge from an enforced shutdown, professionals are turning to the scientific community to help kick-start live events.
Statisticians and epidemiologists have been key players in government policy to put a lid on the spread of Covid-19, and with international studies proving that various vaccines are even more effective than originally thought, the events industry is hoping scientists can help map out the best way to reintroduce live entertainment to society.
In the UK, such high-profile occasions as the Brit Awards on 11 May and the FA Cup Final on 15 May are being run as test events to showcase various Covid-safe systems, procedures and products that will help pave the way to arenas and stadia reopening – and that’s in addition to dedicated pilot shows such as this weekend’s 5,000-cap. Blossoms show in Liverpool, organised by Festival Republic. Across the North Sea in the Netherlands, meanwhile, a series of test events are being run by Fieldlab Events, a government-backed initiative that has represented the events sector during the Covid-19 pandemic.
Elsewhere, test events have been held recently in Barcelona and Berlin; programmes are being discussed in the likes of Denmark and Greece (where a collaboration of rap acts are working on a solution); and in Germany, a group of scientists, health experts and doctors have created a set of guidelines to enable the gradual return of audiences to cultural and sporting events.
Biosecurity Systems uses robotic cleaners and other integrated technology and services to diminish the risk of Covid-19 and other epidemic infections in tourism destinations, public buildings (such as airports) and sporting events.
Company CEO Dr Paul Twomey says the test events that the industry is relying on to plot its return to action need to deliver results that convince scientists and politicians, but crucially the proof will also be vital to restore confidence among consumers. “One of the bosses of a major arena operation told me that they were not in the business of trying to convince the kids; they are in the business of trying to convince the parents of those kids that it will be safe when their children come back home to see grandma after a show,” he notes.
Indeed, the Biosecurity Systems founder notes that being able to list a series of precautionary measures could also be crucial in persuading artists to return to live work – especially those from North America. “The Americans are a lot more risk conscious and litigious, so acts based in the states are going to be cautious not only for themselves but because they live in a different liability environment, they’re going to want to know that people have taken all the steps that they can to minimise any prospect of negligence claims,” notes Twomey. “Due diligence is going to be important.”
“Arenas are in the business of trying to convince the parents of kids that it will be safe when their children come back home to see grandma after a show”
Test event programmes
When the coronavirus first started shutting down events last March, most people in the industry (if they are honest) thought the ‘pause’ would last a matter of weeks. When it became apparent that was not the case, promoters and venue operators in a number of nations were granted permission to run test events to prove that live entertainment could still continue, despite the virus.
As successful as those initial tests were, the fact that strict social distancing had to be implemented meant that venue capacities were slashed, making shows financially unviable. However, thanks to the thousands of scientists around the world who have been studying the virus, the test events that are being held in 2021 are benefitting from a whole host of new technology and protocol that is geared toward showing that the live entertainment industry can reopen its doors with minimal risk of Covid-19 transmission.
Individual companies have been formulating their own plans to mitigate Covid transmission – for example, ASM Global’s VenueShield is being rolled out across the group’s 325 venues worldwide in an effort to provide “the highest levels of safety, security and consumer confidence, in alignment with approvals from local government officials and health care experts.”
In Israel, where the majority of the population has now had both Covid-19 vaccinations, a new passport or ‘green pass’ has been introduced by the ministry of health that has to be shown before fans are admitted to concerts and other gatherings, although such events are still subject to capacity limits. The certificate, which can also be presented virtually on a mobile device, confirms the holder has received two doses of the Pfizer-BioNTech vaccine, which has been preferred by the Israeli government.
On 5 March, local star Ivri Lider performed to an audience of 500 fans at the 30,000-capacity Bloomfield Stadium in a concert that was organised by the Tel Aviv-Yafo Municipality, which governs the city. Although those fans were not socially distanced, they were all seated and were required to wear face masks.
Thanks to the success of that pilot, up to 1,000 people were soon allowed into indoor events in the country, and 1,500 for open-air shows, provided all attendees have a green pass. However, those capacity limits came with caveats as they only applied to venues that normally can seat more than 10,000 people. For smaller venues, a capacity of 500 still exists for indoors, while smaller outdoor spaces are limited to 750 fans.
The green pass programme has quickly been adopted nationwide, with Israeli restaurants, hotels, cafés, gyms and shops allowed to reopen without social distancing restrictions provided patrons can prove they have had both doses of the vaccine, and seated venues are now able to welcome up to 4,000 people for indoor shows.
The green pass programme has quickly been adopted nationwide, with Israeli restaurants, hotels, cafés, gyms and shops allowed to reopen without social distancing
In the UK, all hoped are currently pinned to the results of the forthcoming Events Research Programme (ERP), which will examine scientific findings from a dozen pilot events over the coming weeks in order to gauge the viability of large-scale events without having to impose social distancing on audiences.
Depending on the results of the ERP, the UK may see a return to full-capacity concerts, shows, sports, festivals and other events as early as June, with the UK prime minister’s roadmap to recovery naming 21 June as the date when all restrictions on indoor gatherings are set to be lifted. Before that (from 17 May), outdoor gatherings will be permitted with audiences of up to 10,000 people, under that roadmap strategy.
“These test events will be crucial in finding ways to get fans and audiences back in safely without social distancing,” stated Dowden. “We will be guided by the science and medical experts, but will work flat out to make that happen. We want to get the people back to enjoying what they love and ensure some of our most important growth industries get back on their feet.”
Experts in the Netherlands have been running a testing regime called Back to Live for a number of weeks. Dutch tests have used Amsterdam’s Ziggo Dome (17,000-cap.) , where 1,300 participants were given access to a dance event featuring a number of DJs, and a similar number enjoyed a concert by André Hazes. Those events, organised by Mojo and ID&T, ran from 3pm till 7pm in order to comply with the nationwide curfew (9pm to 4.30am), which had been in place since January.
The promoters of the Ziggo Dome shows report that 100,000 people applied for tickets, providing further evidence of public support for the industry’s revival. Those who were successful were required to produce proof of a negative Covid-19 test within 48 hours of doors opening. Those applicants who received a positive test, which amounted to 12 people, were not admitted. Those who did attend were asked to take another test five days after the shows, while the Back to Live guidelines ensured that the movements of event participants were tracked and traced.
The Dutch testing scheme has been heralded as one of the most comprehensive yet. Attendees for the Ziggo Dome shows were divided into five ‘bubbles’ of 250 people, plus one of 50, each of which had to comply with different rules to test different spectator scenarios.
Additionally, one group was reportedly given a fluorescent drink and encouraged to sing along to the music, so that scientists could monitor the levels of saliva being spread.
“These test events will be crucial in finding ways to get fans and audiences back in safely”
Speaking to media, Tim Boersma, of Fieldlab, said, “We hope this can lead to a tailor-made reopening of venues. Measures are now generic, allowing for instance a maximum of 100 guests at any event if coronavirus infections drop to a certain level. We hope for more specific measures, such as allowing the Ziggo Dome to open at half its capacity.”
The Back to Live series has also included a simulated conference environment with 500 people and two music festivals on the site usually used by Lowlands Festival in Biddinghuizen, with future events including the Eurovision Song Contest in May. The behavioural data gathered at the pilot events will inform governmental decisions on the easing of restrictions in the Netherlands as the country plots its way out of lockdown, which has seen a ban on gatherings of more than 100 people for more than a year.
In Spain, a concert by chart-toppers Love of Lesbian on 27 March at the Palau Sant Jordi arena has been hailed as a success, with the non-socially distanced format presenting no increased risk to the 5,000 fans present, according to doctors.
Audience members were given three locations in Barcelona where they could take a rapid antigen test on the morning of the show. Test results were communicated in a matter of minutes via an app on their phones and only a handful of people tested positive, with those fans banned from the concert but refunded. The ticket price covered the cost of the Covid test, while attendees were also provided with a mask as part of the package.
At the Palau Sant Jordi, the show was delayed due to the strict health controls at the entrance, but with the audience all wearing masks, the event was heralded as a great success.
The planning for that show reportedly persuaded organisers of Barcelona festival Cruïlla to proceed with plans for its 8–10 July 2021 festival, despite fellow Parc del Fòrum festival Primavera Sound cancelling its 10–12 June activities. The proposed Cruïlla is a step forward from last year when the festival pivoted to host a series of socially distanced concerts, Cruïlla XXS, in place of its usual 25,000-capacity gathering.
While shows in Israel have required proof of full vaccination, Cruïlla promoter Barcelona Events Musicals will allow vaccination proof as well as depending on a rapid testing programme to create a “sanitary bubble” of healthy festival- goers. The company is confident that that will deliver a full-capacity festival, with no social distancing restrictions for attendees who have bought tickets to see the likes of Two Door Cinema Club, Editors, Morcheeba, Of Monsters and Men, and local acts Kase.O, and Natos y Waor.
In nearby Canet del Mar, the annual Canet Rock extravaganza on 3 July is planning wide-ranging measures including rapid tests, mandatory masks, a trace-and-track app, and a scheme to enlarge the festival site to provide extra space for its 50,000 visitors.
“We hope this can lead to a tailor-made reopening of venues”
Despite calling time for the second year in a row, Primavera Sound Festival has been at the forefront of activities to try to reopen the events sector in Spain. In addition to a series of 70 small gigs last summer, Primavera partnered with Hospital Germans Trias i Pujol and the Fight AIDS Foundation to conduct a test event in Barcelona’s Apolo venue last October. The show saw 1,000 fans trial a situation that coupled temperature testing with a rapid testing scheme, before watching the concert wearing face masks.
That pilot show was considered a success as the venue introduced additional ventilation and the study concluded that people should be able to begin attending live events again, as long as similar measures were followed. For 2021, the Primavera team is organising a second round of shows in late April, where over the course of a week the likes of Swedish singer-songwriter José González, Seville collective Califato ¾ and Derby Motoreta’s Burrito Kachimba will entertain fans at Barcelona’s Coliseum Theatre.
In Denmark, the live music industry’s ‘restart team’ has submitted a catalogue of recommendations on the reopening of the cultural and sports sectors to the ministry of culture for government approval. The ten-person team – which includes Esben Marcher (Dansk Live), Signe Lopdrup (Roskilde Festival Group) and Sara Indrio (Danish Artist Association) from the music sector – has met with more than 80 key stakeholders across the two sectors to determine how the government should allocate its DKK 50million (€7m) fund.
Among its recommendations are:
- Form an advisory expert group composed of members of the culture and sports sectors, which will maintain dialogue between the sector, authorities and the government, and assist in the preparation of a fact-based long-term opening plan
- Launch a nationwide campaign, immediately after reopening the entire cultural and sports sectors, to celebrate the restart. The team has recommended that the government arranges a nationwide festival, and sets aside DKK 2m (€0.3m), for this purpose
- Back the implementation of SAFE (Sars-CoV-2 antigen testing of fans before events in Denmark), which is a large-scale study of Covid-19 antigen testing of the public prior to matches in the 3F Superliga. The estimated cost is DKK 5m (€0.7m)
- Create an ‘innovation laboratory’, bolstered by DKK 6m (€0.8m), which will develop new digital formats, technologies and initiatives for parts of each sector that have difficulty reopening – principally crowd management solutions for live music events
- Collect data to understand citizens’ concerns, considerations and motivations in relation to cultural and sports life in the wake of Covid-19 and make the information publicly available so the sectors can make informed choices of how to restart. DKK 500,000 (€67,000) has been suggested for this recommendation
- Set aside DKK 36.5m (€4.5m) for the development and testing of new formats for culture and sports, which will enable a safe return.
The team has also made a number of recommendations that require a longer-term effort and/or funding that is outside the allocated DKK 50m. As a result, various schemes, such as compensation funding and a government-backed insurance guarantee, were tabled, as was the suggestion of ongoing compensation for those who have to wait longer to open.
Dansk Live’s Marcher says: “We have gone for broad, embracing proposals that can benefit all actors, which, of course, means that recommendations are not necessarily directly aimed at live organisers. However, I think it is positive that the SAFE project on quick tests is included in recommendations, just as it is positive that there is a focus on pushing for innovation in culture and sports.”
Roskilde’s Lopdrup, who is deputy chairman of the restart team, says: “Our recommendations certainly do not solve all the challenges, but I hope they can help inspire and open up new opportunities for the players and thus pave the way for the reopening of cultural and sports life, so we can meet about the community-creating experiences again.”
Earlier this week, the group said it now looks unlikely there will be major music festivals in Denmark this summer, as the “work [was] started too late”, although it is hoped there will still be at least one test event sometime this year.
“If you say to consumers that there’s going to be a bit more expense as we try to sort things out, I think consumers will live with that”
All who rely on the live entertainment business for their livelihoods will be anxiously awaiting the results of those test show schemes to gauge when they might conceivably get back to work. For its part, and despite zero revenue streams, the industry at large has been investing significant time and money into creating protocols that will allow doors to reopen, to meet the huge demand for entertainment that has been underlined by the frenzy for festival tickets apparent in the UK.
And those protocols could be a vital part of the business into 2022 and beyond, according to Twomey of Biosecurity Systems. “The population might slowly be beginning to understand that the vaccine does not solve Covid,” he says. “It certainly diminishes it, and the death rates and hospitalisation numbers will ease, but the disease problem is not going to go away and the variety of issues around that are going to continue to exist. “The real question for the industry, particularly in Europe, is can they get to a position where they can show sufficiently diminished risk to the extent that public health authorities – and agents and artists – are willing to adopt that risk. If that’s the pertinent question, then I can see a tiered pathway forward.”
Twomey believes venues should be able to show that the risk profile of the people they are inviting into an event is well known and “less than the average risk elsewhere in the environment”. Using Israel’s green pass scheme as an example, he comments, “I can see the same thing happening in Europe built around showing similar types of passes or passports that show that the holder has been inoculated or has recently had a PCR test. The mix between those two is going to vary country by country.
“At ILMC, one of the things I was taken with was some of the festival people saying they would not consider vaccine passports because it was against their beliefs. Obviously, I’m not close to their business or the people that attend their events, but my immediate thought is that those events won’t be returning to business as quickly as those who do implement such guidelines. Put simply, if you’re not willing to make the effort to shift and know your risk, then that’s not going to solve any problems.”
Citing such measures as air purification, disinfection of surfaces, obligatory mask usage, and audience testing, screening and contact tracing, Twomey draws parallels with the anti-terrorism precautions introduced by airports in the aftermath of 9/11, where, ultimately, travellers bore the cost. “The difference between this and terrorism is that everybody now has changed their behaviour, whereas there was only a small percentage of the population who went through airports regularly,” he observes. “With Covid, everyone has been through it and everyone understands it. Therefore, if you say to consumers that there’s going to be a bit more expense as we try to sort things out, personally I think consumers will live with that.”
Twomey concludes, “It’s going to cost a bit more money but probably not as much as people think. But people are going to have to do something. If your model is I’m going to sit and wait, that’s fine, but plan for the second quarter of 2022… maybe.”
This feature has been edited since first appearing in the digital edition of IQ 97. Read the original piece below:
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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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.
|Exhibition and Conferences|
Rupert Levy, Group Finance Director
|Harrogate Convention Centre|
Paula Lorimer, Director
Paul Thandi CBE, Chief Executive Officer
|Association of Event Organisers (AEO)|
Chris Skeith, Chief Executive Officer
|Hyve Group PLC|
Mark Shashoua, Chief Executive Officer
Peter Jones, Chief Executive Officer
|Association of Event Venues (AEV)|
Rachel Parker, Director
Paul Byrom, Managing Director
Nigel Nathan, Managing Director
|Business Design Centre|
Dominic Jones, Chief Executive Officer
Mark Temple-Smith, Chief Operating Officer
Nick Waight, Managing Director
Russell Wilcox, Chief Executive Officer
Shaun Hinds, Chief Executive Officer
|Reed Exhibitions UK|
Anna Dycheva-Smirnova, Chief Executive Officer
Philip Soar, Executive Chairman
|Manufacturing Technologies Association (MTA)|
James Selka, Chief Executive Officer
Peter Duthie, Chief Executive Officer
|Events Industry Alliance (EIA)|
Lou Kiwanuka, Chair
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
Andrew Reed, Managing Director, Events & Exhibitions
Jeremy Rees, Chief Executive Officer
Damion Angus, Managing Director
|Farnborough International Exhibition & Conference Centre|
Gareth Rogers, Chief Executive Officer
John Lally, Chief Executive Officer
|Music, Ticketing, Theatre and Comedy|
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
Barrie Marshall MBE/ Doris Dixon, Chairman/Director
|Royal Albert Hall|
Lucy Noble, Artistic and Commercial Director
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
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
Steve Sayer, VP & General Manager
|British Association of Concert Halls|
Kevin Appleby, Chair
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,
Andrew Parsons, Managing Director
|Featured Artists Coalition|
David Martin, General Manager
|Production Services Association |
Dave Keighley, Chair
Duncan Bell, Steering Committee Lead
|Kilimanjaro Live Group|
Stuart Galbraith, CEO
|Professional Lighting and Sound Association (PLASA)|
Peter Heath, Managing Director
Adrian Christy, Chief Executive Officer
Emma Wardell, Event Director
Frank Warren, Founder
Ryan Murphy, Commercial Director
Eddie Hearn/ Frank Smith,
MD Matchroom Sport/CEO Matchroom Boxing
James Dean, Chief Executive Officer
Matthew Porter, Chief Executive Officer