3IPM 2013

4 Welcome

5 Conference Layout & Hotel Map

8 Itinerary AM

9 Itinerary PM

10 Thank You...

12 Like a Rolling Stove... The companies that feed the crews

18 Safety in Numbers The complex job of keeping people safe

24-30 Delegates List

Contents

In association with

Welcome

4 IPM 2013

They say nothing gets sorted out at conferences, and maybe that’s right, but when people have the opportunity to talk openly and share opinions, the route to solutions can be found. Production world is a small but busy place, so it’s no bad thing that people use IPM as an opportunity to gather thoughts and set organisations like the PSA the task of looking for solutions.

Andy Lenthall

The CDM regulations were imposed upon event practitioners for the Olympics. Some suppliers and service providers found it very frustrating. Those of us from Australia are used to temporary events being treated as construction sites. What do you think? The collosal experience of Roger Barrett, Lee Charteris, Paul Sergeant and Andrew Stone will be brought to bear to discuss this and other subjects in our session while I attempt to keep order. Come and join us.

Jon (JC) Corbishley

It’s now six years since we met in a small circle for the very first time with the aim and intention to follow the example of the ILMC and start an annual exchange within the production world of the concert promoting business.

It fills me with pride and joy to see what has come out of the initial production roundtable (in the first year just 20 delegates). It is incredible to see what has been moved and how the business has changed.

I hope that this forum will stay alive and will continue to do what it has done best – adressing topics and raising awareness to the industry and its active organs...

I´m very much looking forward and once again would like to express my warmest welcome.

Chrissy Uerlings

Welcome to the IPM. As usual, it is my pleasure to be hosting the event and presenting the chairmen of the panels we will have, including myself. As usual we have chosen subjects that will provoke discussion and, possibly, provocation, which I hope will keep you all involved, as is the norm. Please participate and enjoy.

Carl A H Martin

Conference map

5IPM 2013

ACTION IN THE EVENT OF A FIRE1. If you discover a fire, break glass of nearest Fire Alarm point.2. Dial 666 and inform hotel telephone operator.3. On hearing continuous signal alarm, you must evacuate the building.4. For events which have music, a light and buzzer system is in operation,

which results in a controlled evacuation by the Hotel management and staff.5. Use nearest available exit (marked on plan).6. DO NOT USE LIFTS.7. DO NOT STOP TO COLLECT PERSONAL BELONGINGS.8. CLOSE ALL DOORS BEHIND YOU.9. DO NOT RE-ENTER BUILDING.

Networking & Refreshment AreaConference AreaRegistration

Delegates WIFI Username: EVENT/ILMC Password: ILMC2013

with thanks to the ILMC

Park Terrace

LancasterSuite

(AM only)

Bertie's Bar

York Suite

Mezzanine

8 IPM 2013

AM09:00 IPM Registration OpenThe IPM registration desk is located in the lobby of the York Suite Coffee & tea will be available in Bertie’s Bar & Lancaster Suite on Mezzanine level

10:00 – 11:15 Opening Address by Carl A H Martin & Panel Session Moderated by Andy LenthallYork Suite, Mezzanine Level

Fatigue (including substance abuse) In association with TPIChaired by Andy Lenthall (PSA) we will consider the situation in terms of the scheduling of working hours, exploitation of personnel and the subsequent abuse of narcotics and other substances that can follow from this. Considering what should be done to alleviate these dangerous practices, this year we will focus on certain local issues as a starting point.

11:15 – 11:45 Coffee & Tea BreakBertie’s Bar & Lancaster Suite, Mezzanine Level

11:45 – 13:00 Panel Session Moderated by Jon (JC) CorbishleyYork Suite, Mezzanine Level

Industry InformationConstruction and Design Management regulations (CDM) is becoming an increasingly important subject for discussion internationally. We will explain what it is and the possible ramifications for our industry. Lead by Jon (JC) Corbishley (The Safety Officer Pty Ltd) the panel will discuss, compare and inform what is happening in terms of its development as well as other items of interest such as visas, work permits and customs clearance.

Itinerary

9IPM 2013

PM13:00 – 14:30 Buffet LunchBertie’s Bar & Lancaster Suite, Mezzanine Level

14:30 – 15:45 Panel Session Moderated by Carl A H MartinYork Suite, Mezzanine Level

Green IssuesChaired by Carl A H Martin (cahm.uk) this panel will include environmental experts who will explain what is happening and why in relation to the events industry. From festivals to venues and touring to personnel issues, we do not intend this session to be an argument between those who agree with the green agenda and those who don’t. We want this to be a grown-up, objective debate.

15:45 – 16:15 Coffee & Tea BreakBertie’s Bar, Mezzanine Level

16:15 – 17:45 Panel Session Moderated by Chrissy Uerlings & Conclusions of the dayYork Suite, Mezzanine Level

IPM - The Past, The Present, The FutureSometimes it’s important to look back and recognise what we have achieved in order to move forward. Chrissy Uerlings (Christoph Uerlings Productions) and the panel will review past content of the IPM, where the industry currently stands and, most importantly, where it is heading. A chance for us to remind each other of the good that has come from the original ILMC Engine Room panel leading through to the IPM and how to continue this into the future.

18:00 – 20:00 IPM Closing Drinkswith compliments of our sponsors EPS & MegaforceBertie’s Bar, Mezzanine Level

Das Branchenmagazin

VPLT.Der Verband für Licht-, Ton- und Veranstaltungstechnik

10 IPM 2013

We would like to thank all our delegates, supporters, sponsors and partners for their contribution to what is already the sixth ILMC Production Meeting.

Giving up their time to work together to create a valuable day of panel discussions we very much appreciate the contribution made by our chairs Carl A H Martin, Andy Lenthall, Chrissy Uerlings and Jon (JC) Corbishley. We can’t thank you enough.

The IPM would not be able to thrive without the continued support of Martin Hopewell and the ILMC team - thank you and congratulations on the remarkable achievement of 25 years of ongoing industry support!

We are especially grateful to our loyal sponsors for providing the necessary support to continue these important discussions.

Every year our international panellists generously contribute their time and share their knowledge and experience for the greater good of the production community, bringing essential topics to the table to be taken further than just today. Thank you for making the IPM so much more than a great opportunity to network and a gathering of old and new friends. Discussion and networking continues throughout the year. With the back up of media such as IQ Magazine, TPI and support from the PSA we know we can keep communicating all year round, around the world and bring you relevant and up-to-date content.

And finally to all our delegates from around the world, without whose participation, ideas and voices, we would have no IPM at all, our heartfelt thanks and appreciation.

Thank you one and all.

Thank you

The IPM Team

12 IPM 2013

Catering

13IPM 2013

Like a Rolling Stove…If an army marches on its stomach, then the smooth transition of a tour surely owes much to crew catering. Nicola Riches chews the fat with the chefs who fuel our entertainment, to hear about budgetary pressures, sourcing fresh produce and the balance between providing haute cuisine and comfort food.

The explosion in live music events around the world has naturally been mirrored in the backstage catering business. Whereas some 25 years ago there were only two or three companies working in this particularly niche field, the number of firms in 2013 serving up grub to artists and their crew has rocketed.

Despite an huge increase in the number of catering firms, the usual mechanics governing a typical corporate sector do not apply: companies don’t tend to merge; there isn’t a dominant umbrella firm which owns multiple subsidiaries; companies tend to be privately owned by one or two individuals; they rarely take on business outside the UK and Europe; new business comes via word-of-mouth; and the terms ‘take-over’ or ‘buy-out’ are absent from their language.

Instead, the business has a decidedly ‘cottage industry’ feel. Of those we spoke to, five companies were consistently name-checked as being the largest, although some have carved out a market

by staying purposefully small and offering an intimate, personalised service, like Sarah’s Kitchen, for example. Everyone knows each other and, unsurprisingly, companies are spawned from each other. That said, the widely held view is that the market is harder to break than ever before.

Tony Laurenson, one of the owners/founders of Eat To The Beat, has been in the business for almost 30 years. His company is often cited as one of the major success stories, but he readily admits that it’s hard to break the market and stay afloat. “As it’s a specialist type of service, in a niche market, only those who have started at the bottom and worked their way up can succeed in it,” he contends. “Flexibility, durability and a love for long working hours without complaint will get you a long way. Catering is not known as ‘the first in, last out’ for nothing!”

Val Bowes, owner/founder of Flying Saucers (also with 29 years’ service behind it), echoes Laurenson’s views. “We rely on word-of-mouth and ‘who you

Eatopia’s Guy Garvey and Paul Weller cake at last year’s Jodrell Bank concerts

14 IPM 2013

A seafood buffet prepared by Flying Saucers

Popcorn staff at V Festival 2012

Catering

know’,” she states. “Not only that, but the recession has hit everyone – it has had an impact on food budgets and, where applicable, travel budgets too.”

The state of the economy, and perhaps the increased dependency an artist has on the live arena to make money, has blighted the sector to some degree. Tour and production managers have slashed budgets considerably, with some catering firms even admitting to providing a service at cost, just so their staff can count on continued paid-for work. Wendy Deans, owner of Popcorn doesn’t mince her words: “It’s definitely tighter than it’s been for a long time. I’m using the same prices that I did five years ago,” she states.

Some firms even talk about a new payment structure whereby the catering firm only invoices for staff and equipment, leaving the important matter of food out of the equation. “They put the food separately through the floats,” continues Deans. “This means that we don’t invoice for it, so we can’t make profit on it. We make our profit through staff, equipment and the work itself.”

Cutting costs, it seems, never involves opting for lower quality food. In fact, most caterers will slash anything in their budgets to ensure that food served remains the highest possible standard. Sourcing produce, however, differs from company to company.

Newcomers Eatopia started in the business only

three years ago. Like many of their counterparts, Jonathan Wilson and his partner, John Crewe, were already working for a backstage catering company when a production manager recommended they set up on their own. Since then they have catered at live events including Lovebox, Global Gathering and High Voltage. “We use local suppliers as much as we can,” says Wilson. “If you use national suppliers you’re going to get volume and scale in terms of the pricing, but from our point of view, we don’t look at that – we make it our business to supply the freshest food possible. If we incur a cost and our margin is less, that’s fine.”

Supplying fresh food and a varied, healthy menu is central to winning and retaining business. Catering firms adhere to strict privacy codes, so it’s rare they divulge anything about an artist’s taste in food. However, most happily reveal that often it’s not the talent who is fussy about their meals; more the veteran crew member who has been on the road for decades and has developed a refined palate. “The younger bands, when they start out, just want something simple – basically Nandos,” jokes Deans. “But as they get more successful, and they’ve been out to a few nice restaurants and hotels, they get more adventurous. They get a taste for it, like all of us.” She continues, “The crew are probably worse. Most of those people are more well-travelled than the artists. For example, a 45-year-old sound engineer who’s been around for a while, his tastes

17IPM 2013

Catering

will be, let’s just say, different.”Every catering firm uses local ‘runners’ to source

produce, whether that’s in the UK, Europe or further afield. Laurenson explains why they are so important. “When we’re out on tour we always ask for a local runner as they will have a better knowledge of the surrounding area, therefore meaning we can source out the best fresh produce at a reasonable cost to the client,” he says.

That doesn’t mean that locally-sourced organic meat cuts are a mainstay on the backstage menu. In fact, most caterers believe that there has been a distinct ‘back-to-basics’ approach lately, with production and tour managers requesting the food is kept simple and homely. Flying Saucers’ Bowes understands the reasoning behind it, observing, “Our job is to create

a home from home and when you’re at home, you don’t fine dine every night. People want something that is healthy, filling and quite a lot of the time, comforting.” Popcorn’s Deans agrees, “You always hear the whisper go ‘round when we make something like treacle pudding. There’s something nice about cooking something traditional when you’re on the road. It reminds you of home.”

Catering for a major arena tour can see the catering contractors cooking for up to 70 people, so it’s no mean feat to create that homely vibe. And when serving food backstage at an outdoor event can see personnel numbers expand into the hundreds, the need to have a strong and reliable team preparing the meals is essential. Team numbers differ from company to company and job to job, but surprisingly, it may only take two people (plus kitchen helpers and runners supplied by the local promoter) to look after a theatre-sized show. Similarly, six people might go out on a large UK and European tour. What most caterers agree on is that team members have to get along with each other, because they will be in close proximity for long hours, for up to six weeks at a time. The right company, notes one caterer, “Will know when relationships are turning sour and will have the sense to change things, especially on long tours.”

Most of the big-name firms, however, can boast that their core team – including the freelance chefs they employ – has been together, sometimes, for more than 20 years and that’s the key to their success. Even the newcomers appear to be aware of this; that the job is only as good as the team behind it. As Jonathan Wilson concludes, “It’s something you have to really love doing otherwise the stress levels get to you.”

Eatopia feed Public Enemy at the SW4 festival

EatToTheBeat menu

18 IPM 2013

Feature

19IPM 2013

Safety in NumbersThe professionalism of event security staff is no better summed up by the fact there are fewer arrests at festivals than there are in city centres at weekends, despite the obvious revelry that those outdoor gatherings involve. Adam Woods discusses the challenges with the vigilant people who keep crew, artists and fans safe.

In a market where the purpose is mass entertainment, safety and security calls for a delicate balance at the best of times. “Making a festival safe, secure and enjoyable is about understanding that each event is unique, with its own audience profile, so bespoke arrangements are essential,” says Eric Alexander, managing director of G4S, whose events include V Festival and Edinburgh’s Hogmanay celebrations. “We work very closely with organisers and local authorities to plan well in advance. The [live] industry is very professional and festival organisers are keen to engage with safety and security providers well ahead of time.”

Festival-goers like to feel safe, but no-one enjoys overbearing attention. The trick the professionals understand is how to keep security both effective and discreet. Show Security Sweden is currently making plans for both Gothenburg’s blissed-out Way Out West festival, which sees legions of alternative and electronic fans float amiably through the city’s

Slottsskogen park, and Metaltown, the metal festival at Göteborg Galopp. “Way Out West is a really developing festival,” says Show Security Sweden CEO, Ingemar Sveningsson. “We are working really hard with them to build security into the environment so it looks nice, because it is in a really nice park. You should have the feeling of being secure, without feeling that someone is always watching you and without having barricades all over the place.”

Such light-touch measures, Sveningsson acknowledges, would be inadequate for Metaltown. “That is more heavy-duty, with a lot of crash barriers,” he says. “We put a huge amount of security and site costs onto that festival in the first year to make sure things were safe. This year, the challenge will be to figure out smarter solutions to lower the cost a little bit.”

Technology plays a large role in the increasing sophistication of the business and RFID, CCTV and data modelling all have significant contributions

Show Security Sweden stewards

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Security

to make. RFID-driven systems – some of which include the ability for cashless payments – are already playing a part around sites and venues at events including Wakestock in the UK and Eurosonic in the Netherlands and a number of festivals internationally, including Coachella and Bonnaroo in America. The development of modelling, too, allows organisers and their security partners to mount a thorough advance exploration of the implications of a particular site, for an event of a particular size, and build their strategy to fit.

G4S, which also deploys x-rays, metal detection systems, CCTV and even drones to fly over events monitoring activity, is giving particular attention to computerised modelling techniques. Alexander is working closely with professor Keith Still, who he describes as, “The world expert in computer modelling for crowd management.” Alexander continues, “His approach enables us to monitor and predict crowd behaviours so that we can design our crowd safety operations bespoke to each festival’s risk profile.”

Event security technology, needless to say, has a global footprint. Jim Fidler of Australia’s Secure Events and Assets, which works for the Big Day Out, Sydney Festival and Soundwaves, reels off half-a-dozen ways technology has impacted on the daily business of managing an event, from web-based rostering and compliance (“The days of running a roster off an A4 piece of paper have gone,” he notes), to mobile incident reports and iPhone risk-assessment apps.

However, these are mature times too, as companies grasp the fact that no amount of technology can

substitute for good planning. “The big challenge used to be that new technologies were felt to be the be-all and end-all,” says professor Chris Kemp, a crowd safety expert, based at Bucks New University’s International Centre for Crowd Management and Security Studies. “But what people have gradually started to understand is that it is about management and it is about planning, and all these new developments are entities that support that.”

It is reassuring, then, that plenty of thought is going into teaching the strategic basics, too. In many countries, event security remains a specialist spin-off of the wider security business, wrangling uneasily with government, non-specialist firms and police over the best way to manage large music events. The need for credibility and proven professional strategies has driven European companies into loosely cooperative relationships, forged around training schemes and best-practice programmes. For instance, the German training centre, IBIT, under former Rheinkultur managing director Sabine Funk, brings together players including Special Security Services and Esprit Arena Düsseldorf. Elsewhere, G4S is affiliated with Bucks New University, while Showsec is partnered with the University of Derby.

“Event Security has evolved from the brainless thug to degree qualified crowd managers,” notes The Safety Officer director Jon Corbishley. “The front of stage ‘Pit’ barrier, which was originally made out of scaffolding and chipboard and designed to prevent stage invasions, is now a sophisticated rescue area manufactured to stringent crowd pressure load ratings. It is the subject of intricate design to reduce localised crowd density and tweak sight lines and is staffed by people trained in crowd dynamics and audience demographics.” He continues, “No more do we stick a finger in the air and guess how many we can cram into a festival site. Egress calculations, crowd shaping and pedestrian flow rates are the order of the day.”

But competition for contracts is fierce and Jacques Does at The Security Company in Holland states, “We are seeing a downturn in margins due to rising costs of collective bargaining agreements and a tighter budget with our customers.” And Does believes that bona fide security businesses must step up their game when it comes to providing services to new events in particular. “There are far too many

Showsec on duty for Iron Maiden

23IPM 2013

Security

companies, who probably mean well but take on jobs which are above their skills or sheer numbers of available personnel,” he says. “We have to find a way to let people know with which companies they can do business with and are reliable.”

The UK, along with the Netherlands, is generally seen to have the most advanced event security sector in Europe, but the British industry is facing challenges of its own, thanks to the bureaucrats. The Home Office is proposing to make the private security industry a self-regulating one, much to the concern of some working in the business. “The industry has spent a decade consulting, evolving and implementing an effective SIA licensing model with the Home Office, so the proposed removal of independent governance is going to be a huge negative,” says Mark Harding, managing director of Showsec, which provides security and crowd management at 450 UK venues, and whose festival clients include Bestival, Download and Bloodstock. “The appetite for a commercially influenced governing body will inevitably be driven by elements of the private security industry seeking to gain their own benefits,” adds Harding. “They will be based in the larger sectors of security with little or no interest in live music. We’re pushing to see some strong checks and balances that will maintain integrity and industry-wide availability of licenses.”

On the plus side, a National Occupational Standards framework for UK event security professionals is currently out for consultation. That possibility excites Harding. “The event industry has long needed a formal qualification pathway that clearly sets out the route for people who are ambitious to develop their skills and career opportunities,” he says.

Developing is something the business is certainly doing, all around the world. In fact, from his perspective, professor Kemp believes the entire event industry is on the verge of a major shift in the way it manages its operations. “There are big things coming up,” he comments. “There are some really, really off-the-wall ideas involving sensors, modelling and new data developments. Over the next five or ten years, all of that is going to come to fruition and events are going to be seen as an entirely different thing.”

Corbishley concludes, “Patrons have higher expectations and reputations can be easily sullied by one Tweet from a dissatisfied client. This should be looked upon as constructive criticism to help us improve our service, not a bloody whinge from that lot who come and get in the way when we open the gates. Most of us are now slowly beginning to realise that if those who ultimately pay our wages have a great event experience, they are very likely to come back for more.”

A G4S steward at T in the Park festival

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DelegatesName Company

Moussa Abutaleb Event House, Egypt

Phil Addyman Star Events Group Ltd, England

Heidi Aho Fullsteam Agency, Finland

Alberto Artese AA Productions, Italy

Roger Barrett Star Events Group Ltd, UK

Svenja Behrens SMG Entertainment, Germany

Tom Bilsen stageco Deutschland GmbH, Germany

Jason Bond Bond Media Enterprises, Australia

Lajos Borbely Budapest Arena, Hungary

Gerald Borg Right Structures, Malta

Barry Bremner Zayed Sports City, UAE

Steve Broadfoot LugPlugs, UK

Michael Brombacher Megaforce GmbH, Germany

Graham Brown Plaster Creative Communications, UK

Kurt Bucher Fortissimo AG, Switzerland

Patrick Cantieni eps schweiz, Switzerland

Lee Charteris Flash Entertainment FZ LLC, UAE

Pamela Choat Robertson Taylor Insurance Brokers Ltd, England

James Cobb Cobb Associates Ltd, UK

Jon Corbishley The Safety Officer Ltd, Australia

Nicholas Couch Glownet, Spain

Tam Coyle LugPlugs, UK

Daniel Cuffe Cuffe & Taylor, UK

Dirk De Decker Stageco, Belgium

James Dodds Doodson Broking Group, England

Ivana Dragila Musikmarkt GmbH & Co. KG, Germany

Jon Drape Ear to the Ground, UK

Lez Dwight Britannia Row Productions, UK

Hannah Eakins TPi Magazine, UK

Emily Egan Westpoint Arena, UK

Andreas Egger Ticket Express GmbH, Austria

Mehmet Kemal Erdine Biletix A.S., Turkey

Richard Ferrand Cooling & Heating Solutions Ltd, UK

Bernhard Fieber MK Partner Veranstaltungsmanagement GmbH, Austria

Lou Fitzpatrick Grub Stub Ltd, UK

Gary Fjelstad Intl. Special Attractions, USA

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Robert Fowler Shelton International, England

Sabine Funk IBIT - Intl Education & Training Centre, Germany

Haiping Ge Intl. Special Attractions, USA

Maria Gedeon Zayed Sports City, UAE

Martin Goebbels Robertson Taylor Insurance Brokers Ltd, England

Bryan Grant Britannia Row Productions, UK

Sarah Green NEC Group, UK

Joachim “Gus” Guthmann Main Support, Germany

Ben Gutt eps SPLASH GmbH, Germany

Joanna Hartle McLoughlin Joanna (Hartle) McLoughlin, UK

Tony Hayes NEC Group, England

Stefan Heinicke Sound & Production networkx GmbH, Switzerland

Andreas Henkel Media Power GmbH, Germany

Michael Herbst stageco Deutschland GmbH, Germany

Werner Herbst stageco Deutschland GmbH, Germany

Willy Hidayat Trilogy Live, Indonesia

Norbert Hoffmann Koelner Sportstaetten GmbH, Germany

Pete Holdich Star Events Group Ltd, England

Susanne Howell Eat To The Beat, England

Alison Hussey Rockstar Services, England

Susan ‘Duchess’ Iredale EPI Ltd, Republic of Ireland

Bowie Jane Bowie Jane, Australia

Gulshan Jhurani Mooz Entertainment PVT Ltd, India

Borek Jirik Transmusic Booking, Germany

Kim Joyce Eat To The Beat, UK

Roland Kaermer Koelner Sportstaetten GmbH, Germany

Rashmi Kant Mooz Entertainment PVT Ltd, India

Ulas Karaoglu Biletix A.S., Turkey

Firat Kasapoglu The Partners, Turkey

Mmaphefo Kefilwe SA Roadies Association, South Africa

Paul Kindred Premier Aviation, UK

Yvonne Kloefkorn EPS Holding GmbH, Germany

Bruce Knox Robertson Taylor Insurance Brokers Ltd, England

Bernadett Kokeny ACC Liverpool, UK

Liz Koops Broadway Entertainment Group, UAE

Jana Kratka JV Agentura, Czech Republic

Andi Kuhn EPS Scandinavia ApS, Denmark

Claudia Kwiecinski VPLT, Germany

Dirk Lauenstein stageco Deutschland GmbH, Germany

Eric Laux eps SPLASH GmbH, Germany

Delegates

Name Company

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Georg Leitner Georg Leitner Productions GmbH, Austria

Andy Lenthall Production Services Association, England

Philip Limberg Floyd Reloaded GmbH, Germany

Rashid Lombard espAfrika PTY LTD, South Africa

Yana Lombard espAfrika PTY LTD, South Africa

Steve Lovering Shelton International, UK

Peter Madai Live Nation Czech Republic, Czech Republic

Tomas Marko Agency Vivien, Slovakia

Carl A H Martin cahm.uk, England

Gordon Masson IQ / ILMC, UK

Timo Mathes Megaforce GmbH, Germany

Reese Mauder Watermills, England

Garry McQuinn Priscilla Queen of the Desert, The Musical, UK

Andre Menard Montreal Jazz festival, Canada

Michael Moeller Megaforce GmbH, Germany

Ted Moore Stage Technologies, UK

David Morinigo Behind the Scenes, Spain

Olivia Morris Eat To The Beat, UK

Markus Muffler Burghof Loerrach / Stimmen , Germany

Kelly Murray TPi Magazine, UK

Renatas Nacajus Zalgirio Arena, Lithuania

Eva Navratilova Geronimo Agency, Czech Republic

Grzegorz Niemczyk VGC Poland, Poland

Brooke Nolan Plaster Creative Communications, UK

Freddie Nyathela SA Roadies Association, South Africa

Michal Ocovan Vagaboond, Slovakia

Kim Osmundsvaag Atomic, Norway

Egemen Ozcan Boogy the Event Company, Turkey

Johannes Partow SMG Entertainment, Germany

Maciej Partyka MM Communications Ltd., Poland

Anet Pichler Glownet, UK

Manfred Porschnitzer stageco Deutschland GmbH, Germany

Juliette Potuznik Road Rebel, Netherlands

Marco Quirini Floyd Reloaded GmbH, Germany

Vladica Radevic Arena Beograd, Serbia

Aline Renet Prodiss, France

Steve ‘Jumbo’ Richards NoNonsense, UK

Naomi Roberts Flare Audio, UK

Konstantin Rohr Security-Service-Schmitt, Luxembourg

Michael Sabokat allbuyone gmbh, Germany

Delegates

Name Company

30 IPM 2013

Jean Karl Saliba jk58, Lebanon

Nicholas Sautner Etihad Stadium, Australia

Julie Schanzenbacher Road Rebel, Netherlands

Fabian Schulte-Terboven eps gmbh, Germany

Mark Searle Burghof Loerrach / Stimmen, Germany

Malika Seguineau Prodiss, France

Paul Sergeant Ethiad Stadium, Australia

Mary Shelley-Smith Eat To The Beat, UK

Edwin Shirley Edwin Shirley, UK

Stefan Siebert TC Ticket Center GmbH, Germany

Mihkel Sirelpuu BDG Music OY, Estonia

Michal Siska High Lite Touring, Czech Republic

Rick Smith Rule Out Loud, UK

Philip Solga Media Power GmbH, Germany

Michael Spangler eps holding gmbh, Germany

Bradley Stauffer-Kruse Priscilla Queen of the Desert, The Musical, UK

Martin Steffen eps holding GmbH, Germany

Gerry Stevens Talent Care International, Bulgaria

Andrew Stone eps australia pty ltd, Australia

Sarjono Sutrisno Trilogy Live, Indonesia

Cesar Takaoka eps brasil ltda, Brazil

Chad Taylor Live Nation Finland, Finland

Bo Teichert EPS Scandinavia ApS, Denmark

Karaoglan Tesci Biletix A.S., Turkey

Okan Tombulca EPS Holding GmbH, Germany

Luca Tosolini eps Italy, Italy

Paul Twomey Robertson Taylor Insurance Brokers Ltd, England

Christoph Uerlings Christoph Uerlings Productions, Germany

Maria Uerlings eps sp. z.o.o., Poland

Neel Vasavada eps america llc, USA

Florian Von Hofen VPLT, Germany

Meagan Walker Rod Laver Arena, Australia

Laura Wellstead Robertson Taylor Insurance Brokers Ltd, England

Adrian Whitmarsh Premier Aviation, UK

Ceren Yildirim GNL Entertainment, Turkey

Randy Young T Servis s.r.o., Czech Republic

Vladimira Zahradnikova JV Agentura, Czech Republic

Edward Zammitt Right Structures, Malta

Agota Zirkuli ACC Liverpool, England

Delegates

Name Company