NOVEMBER | WELCOME
Colophon
EDITOR
Tom Hall
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Martin Fullard
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Stuart Wood
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James Linin Sean Wyatt-Livesley
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Elizabeth Nixon Matthew Williams
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Duncan Siegle
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W
orking in music or events is a dream for many, but there’s a high
level of volatility in these markets. It didn’t surprise me, then, to
read Skiddle research reporting “astronomical” stress levels in
the live industry.
Tensions were certainly palpable at a recent Live UK Summit, where the
likes of AEG and Kilimanjaro Live touched on how tight margins, frenzied
negotiations and high levels of risk are a daily reality for staff.
The ensuing blame game often finds fingers pointed at the live
industry’s big monopolies who’ve have gained budgets big enough
to speculate on gigs – not a gamble the smaller promoters and artist
management companies have the luxury of.
The advent of the new currency - data - has made it even harder to see
how fledgling compaines can compete with the ever-growing hard drives
owned by the likes of Live Nation. It would be like throwing a thumb drive at
a server farm… or, er, something.
I’m clearly not an expert on digital, but I do know we could be one
algorithmic innovation away from a revolution. MySpace, for example,
owned a lot of people’s data, but no longer their loyalty.
But, while the music and ticketing industries are increasingly relying
on digital, events are still reassuringly tangible, from the furniture to the
projectors. Fashion, another cut-throat industry, is making increased use
of this kit as heightened buyer expectations and brand competition veer
runway shows away from minimalism, towards more ambitious production.
This issue, we examine some of the best efforts at London Fashion
Week (p28), as well as this year’s finest event production jobs (p36) for the
likes of U2 and the BBC.
It’s great to see sectors making more use of the industry’s products,
staff and services, but one thing remains constant: every show counts, and
no one’s nails remain unbitten when the tickets go on sale.
Tom Hall, Editor
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