IPM 15: Production heads on perfect storm of Covid and Brexit

The IPM programme concluded with what organisers referred to as the mega panel – a session that revolved around the current industry conditions, summed up by the strapline Covid & Brexit: The Perfect Storm.

Split into two parts, the mega panel involved multiple guest speakers from around the world, with Bonnie May from Global Infusion Group chairing part one and applauding those businesses who managed to get through the survival period by adapting their operations to negotiate two years of severely impacted activities.

Indeed, with the war in Ukraine adding to that ‘perfect storm’ analogy, hiking costs even higher and exacerbating the supply chain crisis, May turned to a plethora of experts to tell their stories over the past two years, as well as citing their early experiences of the industry recovery.

Singapore-based Paul Sergeant (ASM Global) underlined the fact that a lot of debt had been incurred during the Covid pandemic and that would continue to impact the live entertainment sector over the coming months and years. He advocated the pandemic’s effect on improving communications from top to bottom in his company as a massive tool in motivating employees.

Sergeant also talked up the Venue Management school in Australia that has been running for about 30 years and awards people diplomas when they graduate. He said that numerous sectors across the live entertainment business in Australia had bought into that programme and market its benefits to their various audiences.

“I’m still now educating people who have only started getting back out in the road”

José Faisca from Altice Arena in Portugal highlighted the importance of everyone in the live entertainment ecosphere that make the industry work – and the fact that those at the bottom of the food chain need more help and support than those who are at the top, if they are going to remain part of the business, rather than taking their skills elsewhere.

“We are better together,” he stated, adding that treating the freelancers and suppliers as part of his company’s extended family – eating together, inviting everyone to team meetings, and investing in training – encourages an atmosphere where everybody is happy to work for the health of the company. “We sometimes invite the families of our suppliers, the riggers, etc, to events so that they can see what their loved ones do and the results they help produce,” he revealed.

Asthie Wendra, a show director and stage manager from Indonesia said her team was almost back to full strength post-pandemic, despite the fact that many found work elsewhere, suggesting that lot of people want to return to the live entertainment environment in her country. Wendra also highlighted the importance of education and training in the workforce. “They need to get something other than money, but education and helping them return to the industry and see that they can have a career there helps us to do that,” she said.

Lisa Ryan (EFM Global) said Covid was a blessing for the Brexit factor, as the industry probably would not have coped had there been the normal level of events through the red tape nightmare, carnets and other new regulations thrown up by the aftermath of the UK leaving the European Union. “I’m still now educating people who have only started getting back out in the road,” she said, hinting at the carnage that could await the business when the busy summer season kicks in. She adds, “I’ve been doing this for 20 years and I’ve never seen anything like this [situation].”

Ryan and May agreed that improving the conditions for employees was a crucial part of keeping people motivated and retaining their skills in the industry, with both citing pay rises, better holiday terms, facilitating people to work from home on flexible hours, and even allowing staff to relocate abroad to fulfil life ambitions. However, they acknowledged the difficulty of recruiting new people to the industry, as well as attracting people back who may have found work elsewhere that offer them a more settled life-work balance.

“I don’t think the artists have realised yet that the costs have gone up and the profits will be less”

Part two of the mega panel was chaired by eps holding chief Okan Tombulca who explained that he has been on a number of conference sessions during the past year to specifically address the supply chain issues that are beginning to hit the international industry, both in terms of personnel and equipment. He voiced his personal opinion that the business is continually in a perfect storm, in terms of spiralling costs and pressure.

Andrew Zweck (Sensible Events) suggested it’s too early to know if artists have changed their views because of the various limitations that are hitting the business post-Covid. “I don’t think the artists have realised yet that the costs have gone up and the profits will be less. It’s unfolding now as we speak and that problem is not fully understood by the artists.” He added that the fact there are no double drivers this year is having an impact on tour plans, including at least one stadium show he had to cancel because they could not get a stage for that date.

“Artists are going to have less and I’m not sure they know that yet,” Zweck added, noting that he did not know who was going to tell them.

Production manager Phay Mac Mahon reported that the production side of the industry has lost about 30% of its workforce. “It’s the vendors’ time – they don’t need to reply to you because they are so busy trying to fulfil the contracts that they have,” said Mac Mahon. “With larger artists it’s planned further ahead, but for the younger artists it’s tough because their production manager might not be able to get the answers and therefore they may not be able to get the suppliers.”

Julia Frank from Wizard Promotions in Germany revealed that she started calling around a year ago for a certain tour for summer 2022. “I’m now just six weeks from that tour starting and I’m still ten riggers short,” she said.

“I’m now just six weeks from that tour starting and I’m still ten riggers short”

Anna Golden of UK promoters Kilimanjaro Live revealed that the company’s focus was on UK touring artists and outdoor shows. “We’ve been in constant communications with our suppliers so that at least they know these shows will definitely happen,” she said. “One of the festivals that Kili owns has actually bought its own stage because we have a five-year plan and that was financially more viable.”

Tombulca pondered whether that might be a new concept for promoters to own the infrastructure. Mac Mahon countered that the artist ego and ambitions for bigger and bigger shows might work against that. “Artist ego is the vendor’s best friend,” said Mac Mahon.

Zweck noted that the likes of the Royal Albert Hall has its own in-house lights and PA that it encourages bands to use, which also helps with sustainability. And he told IPM that in Australia, agreements are in place that equipment will stay in specific cities this year for artists to share, rather than shipping that kit on long journies for days at a time between venues. And on a similar theme, Tombulca says Live Nation has set up 28 stadia across America with exactly the same stages and kit for the summer.

Delegate Bryan Grant from Britannia Row noted that there is not enough equipment in the world to supply all the tours that are going out this year, revealing he had tried to fly in kit from South Africa for some of his events, only to be told it had already gone on rent in Germany.

Tombulca also touched on the impact of the war in Ukraine. Frank said the cost of fuel was the obvious impact, but she had not seen any difference in ticket sales in Germany. However, Zweck said it was another doubt to plant in the mind of the ticket seller for festivals and tours in the latter part of this year, going into 2023.

We’re in for a tough year, but humans are resilient and we will find a way”

Lisa Ryan from EFM Global noted that many of the Antinov aircraft that might be used for bigger tours are grounded in Russia and the Ukraine, while the biggest of all was recently destroyed in the conflict.

And speaking from the point of view in the Baltics, Renatas Nacajus from ISEG in Lithuania reported that ticket sales dropped immediately when the Ukraine war started, as confidence disappeared from the market.

Golden concluded that this summer is just about surviving and getting through 2022 as best as possible. Frank agreed. “It’s like going back to the 90s – it’s not going to be pretty, but it will do,” she stated.

Zweck commented, “We’re in for a tough year, but humans are resilient and we will find a way. Market forces will have a correction in terms of giving more money to the people at the lower end. But overall I’m pessimistic and I think when we look back in two years, we’ll struggle to see what we learned from Covid and we’ll be back to the greed of the big promoters and that will become rampant again.”

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Eat to the Beat founder Tony Laurenson passes

Tony Laurenson, founder and CEO of global catering group Global Infusion Group (GIG) and its well-known subsidiary Eat to the Beat, passed away last Tuesday (19 January).

Laurenson spent over four decades in the catering industry and cultural catering company Eat to the Beat (founded in 1983) became a forerunner in the business.

The company has provided catering for tours, festivals, TV and film – with clients including Alicia Keys, Iron Maiden, Coldplay, Download, V Festival – and later became the foundation of GIG (founded in 1981 by Laurenson), which also operates e2b and Bonnie May Food & Events.

“Tony was so passionate about the industry and was ‘everybody’s mate’… you’d often see him rolling his sleeves up to help”

The news of Laurenson’s death was announced on the GIG Facebook page: “It is with tremendous sadness that we announce that Tony Laurenson, our founder, and CEO passed away, at home, suddenly yesterday (19th January 2021). We are all in complete shock. Our thoughts are with Bonnie, Matt, Will, Tom and Harriet and all of Tony’s family.”

Andy Hudson, who worked with Laurenson in the early days of e2b, wrote: “This sparkling man was an asset to all of us who knew him. Professionally, he and his team were the ultimate caterers – to the stars and equally to the road and technical crew that kept the show on the road. His bonhomie and reliability and much of his homely wisdom will be engrained in me for the remainder of my life.”

“Tony was one of the true characters of the touring industry with his big smile and love of a good time”

Brian McCarthy, club president of Chesham United FC, where Laurenson once held the role of hospitality director, wrote: “I was fortunate enough to work with Tony when he was a director of the club. He brought so many new ideas to the table and gave myself and the board energy and belief that we can broaden the appeal of the club within our community.

“Tony understood the role that football can play in people’s lives and was inspirational in helping us to make new contacts and develop new ideas that are still key to the way the club operates today. Tony will be sorely missed, but his memory will live long with those that had the pleasure of knowing him.“

Musician Stuart Uren paid tribute: “So sad to hear about the passing of Tony Laurenson! A lovely, kind and ever-cheerful chap, I was fortunate to work and travel with on various tours in the 80s. . . Full breakfast please Tone.”

Ex-business partner, Neil Armishaw, wrote: “Tony was a one of a kind who many will have seen at events, festivals etc catering backstage with his company, Eat to the Beat. Tony was so passionate about the industry and was ‘everybody’s mate’… you’d often see him rolling his sleeves up and jumping in to help.”

Australia-based roadie, Paul Streaky Hawkes, says: “Tony was one of the true characters of the touring industry with his big smile and love of a good time. He and his legion of caterers kept us well fed on many tours through Europe over the last 30 odd years… he will be sadly missed by many.”

Laurenson is survived by Bonnie, Matt, Will, Tom and Harriet.

They ask for donations (“not carnations”) to be made to Stagehand, the PSA’s benevolent fund, in his name: click here for the JustGiving page, which has raised over £10,000 at press time.

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