The latest on live music’s supply chain crisis

The perfect storm impacting touring’s supply chain ahead of the industry’s biggest summer in years took centre stage at ILMC.

Chaired by Kilimanjaro Live CEO Stuart Galbraith, The Supply Chain: Restock, repair and recruit panel focused on the ongoing issues caused by the sector’s staffing exodus since the onset of Covid-19.

Galbraith noted that, with tens of thousands of freelance workers – and full-time staff – having left the industry over the past 24 months to find jobs elsewhere, shortages remained across the board.

“One of the key problems at the moment – and that’s been the case from last August, September and then through Christmas and now, as we head into what will be undoubtedly the busiest festival season ever in the UK and many other territories – is actually there just aren’t enough staff,” said Galbraith. “So many people have left our industry, whether it be riggers, bar staff, security, truck drivers, etc.”

It’s the task of everybody to bring in new talents and teach them”

Okan Tombulca of eps said that the uncertainty around the restart had deterred a significant section of the workforce from returning.

“A lot of people from the industry had other jobs and they said, ‘Listen, I’m happy to come back. But not only for two or three months, because then I’ll lose my other job,’” he said. “A lot of promoters brought in a lot of young people without any experience and the workload was really high. We saw many people burned out after the three months… It was just too much.”

Tombulca said that training the next generation of backstage talent was of paramount importance.

“It’s the task of everybody: promoters, service companies, that we bring in new talents and teach them,” he said. “We, as eps, were fortunate that we didn’t lose too many people. Nevertheless, we are very, very concerned about staffing.”

“We were trying to do eight months’ work in three months, with probably half the number of people”

Festival Republic’s Becky Grundy, event manager for festivals such as Reading and Creamfields South, described last summer’s season as the most challenging of her 25-year career.

“We were trying to do eight months’ work in three months, with probably half the number of people,” she said. “There was the uncertainty about when things would open up and the availability of equipment, because most of it was tied up on government testing sites. Working under those circumstances, you’re making 1,000 phone calls when you could be normally making 10. But it increased the dialogue between everyone in the industry. We couldn’t have got through it without the support of the suppliers.

“We did seven or eight full capacity events from July through to September and we didn’t really start bringing people back to work on those until May, so it was a lot of work to achieve in a very short space of time.”

ASM Global’s Ailsa Oliver, general manager of Utilita Arena Newcastle, called the circumstances around last year’s restart in the UK as a “nightmare” and said the situation was still some way from returning to normal.

“I’d like to say it’s fine [but] it’s not fine,” she said. “I think we’re possibly getting used to it. Our resilience plans are working. We’re working very collaboratively with our providers locally and really thinking about how we value our workforce and how we encourage people to come back to the industry, or just to join the industry. Because there’s been two years where they didn’t even know there was an industry to come back to.”

Oliver added that staffing costs were up “25 to 50%” in some cases. “Some of that is linked to Covid and hygiene protocols, and additional work is required from that,” she said. “But yeah, it is up to 50%-plus in certain roles.”

“There are no restrictions, but we have a lot of artists coming in who are still very much aware of Covid and want the safety procedures”

CEO of UAE-based Flash Entertainment John Lickrish said the company’s biggest challenge related to content.

“Getting content in a six-hour minimum flight, logistics and operations was really challenging during the Formula One [Abu Dhabi Grand Prix of December 2021] where we had four big concerts and Foo Fighters cancelled at the last minute,” he said. “Trying to get a backup artist, or anyone to come and perform, was next to impossible.

“We were working directly with the airlines and with the authorities to make concessions about Covid, but we couldn’t get the equipment in. We ended up sourcing two people who happened to be in the UAE: one was in Dubai and one was in Abu Dhabi for F1, so it was a bit of a challenge. We used to be able to snap our fingers.”

Xenia Grigat of Copenhagen-based promoter and booking agency Smash!Bang!Pow, brought the session up to speed on the state of play in Denmark.

“We didn’t have a festival season last year, but we did some headline shows,” she said. “Of course, the majority was with local artists – it’s just recently that we have had international artists coming in, with all the challenges that that brings with it.

“There are no restrictions, but we have a lot of artists coming in who are still very much aware of Covid and want the safety procedures that we cannot uphold because we can’t enforce that on the audience any longer. We get it that they want to have the audience wearing face masks and want crew to be tested, which we can do to some extent. But backstage, it’s still taking up resources.”

“Every change is also an opportunity to get to the next level”

Galbraith said that while Covid was “pretty much done” in the UK, there were still knock-on effects relating to neighbouring markets.

“It’s certainly done in the public areas of concerts and backstage pretty much too, but we’ve got artists that are coming in to the UK and touring who are still working on protocols based on what’s happening in Europe,” he said. “And they’ve got to, because they’ve got to go back there – and they can’t go back there with Covid because they have to quarantine there and they’ll lose the shows.”

Ending on an upbeat note, Tombulca suggested how the business could use the crisis to improve its inner workings.

“Every change is also an opportunity to get to the next level,” he said. “This situation is also bringing a lot of new ideas. From the vendors to the service companies, we’re developing a lot of new products, which are more sustainable and need less labour and transport capacities.

“We are forced to do that because we all know at the moment, we might be in a good position, because the demand is higher than the offer. But we all know in two years time, you guys will squeeze us again. So we have to be prepared for it, without doubt.”

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