DOCSLIB.ORG

3.5 Event Marketing Precis

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
3.5 Event Marketing Precis CAMPAIGN: #HELLOSTRATHALLAN - T IN THE PARK 2016 AGENCY: DF CONCERTS & MATERIAL_UK CATEGORY: 3.5 EVENT MARKETING PRECIS T in the Park (TITP) is one of Europe’s leading festivals – a cornerstone of Scottish culture and a rite of passage for music fans across the country. Co-founded in 1994 by DF Concerts and Tennent’s Lager, over the past 22 years the festival has grown in influence and reputation and is now a major player on the world stage. THE CHALLENGES In 2015, T in the Park faced the biggest challenge of its 22-year history, with the festival relocating from its much-loved Balado home to a brand new site – Strathallan Castle. The complexities involved with moving Scotland’s biggest music event were not to be underestimated, and neither was the level of media attention this would inevitably generate. Understandably festival-goers were apprehensive – how would the new site compare to their beloved Balado? This fell at a time when T in the Park faced increasing competition from the wider UK and European festival market. It was imperative that T in the Park upheld its reputation as an unmissable festival experience. AMBITIONAMBITION ANDAND OBJECTIVESOBJECTIVES TARGET MARKET We knew our marketing and communications strategy had to be confident, savvy and engaging for our target market, which comprised: • Primary target market - music fans in Scotland (core demographic: 18-24 year-olds) • Secondary target market: music fans outwith Scotland - across the UK and Europe CAMPAIGN OBJECTIVES • Capitalise on the PR and marketing opportunities presented by the new site move • Reinforce TITP’s stature as an internationally acclaimed festival and a major event on the global stage • Create a high ATL and media profile for the event to drive ticket sales and consumer engagement • Drive sales of key revenue generation initiatives and services ie. Refresh pamper parlour (target: 9000), Residence luxury camping packages (target: 300) Key Messages • #HelloStrathallan - 2015 is a once-in-a-lifetime opportunity to make TITP history by being a part of the first ever event at Strathallan Castle • T in the Park is more than music – it’s about the community vibe, the atmosphere and the camaraderie COMMS OBJECTIVES Digital • Increase Facebook likes by 10,000 • Increase Twitter followers by 10,000 • Achieve 5,000 downloads of TITP mobile app • Grow no. of subscribers to T Lady e- newsletter to 130,000 PR • Ensure high event profile through widespread media coverage (2500 articles) STRATEGY & EXECUTION STRATEGIC PLANNING Social insight revealed a degree of fan apprehension regarding T in the Park’s move to Strathallan Castle. It was an unknown venue, so we decided that converting this fear of the unknown into excitement would form the backbone of the strategy. The stunning beauty of the new site, which had its own 19th century baronial castle, would therefore become a key message of the campaign. We knew we had to capitalise on the excitement and intrigue that this unique opportunity presented. It was also important that TITP’s world class line-up – and its distinction as the biggest and best-loved event in Scotland, and one of the best festival experiences in the world – didn’t get lost. CAMPAIGN LAUNCH - TEASER One of the bands headlining T in the Park 2015 was The Libertines – a major coup for the festival given the band’s recent reformation was causing major excitement amongst our target audience. However we also knew that they were playing competitor events. These events had yet to announce their line-up - so we capitalised upon the band’s love for the Scottish crowd to negotiate permission to announce the band early – in advance of any other UK dates. By announcing the band as a pre-launch standalone announcement, we were able to maximise the reach of this across the UK. CAMPAIGN LAUNCH - TEASER We positioned this as a major coup – TITP was the first UK festival to have the band as headliners – resulting in high profile media coverage, including an exclusive interview with Libertines’ frontman Pete Doherty on BBC Radio 1’s Zane Lowe show and BBC 6 Music’s Music News, leading to the announcement trending UK and world-wide. CAMPAIGN LAUNCH With the campaign off to a strong start, we kept momentum going by launching the festival line-up with a high impact campaign a couple of weeks later. Analysis revealed the TITP audience was most active online between 6.30pm – 9.30pm, so our launch strategy led with a 7pm announcement across BBC Radio 1 and TITP’s digital and social channels. This led to “T in the Park” and artists’ names trending worldwide on Twitter, and was complemented by integrated digital, print and outdoor ATL campaign. HOUSEWARMING PARTY We also hosted a “housewarming”-themed launch party for artists, media, friends of the festival, and key stakeholders, celebrating the move to a new site and the festival’s journey to date to generate excitement. ABOVE THE LINE With visibility and profile a key objective, we launched a strategic ATL campaign which incorporated outdoor, print, digital and broadcast media. Using valuable insight from sales data, the campaign targeted key demographics and audience segments, and media ads were placed in outlets which complemented the PR campaign. PRINT AD EXAMPLE ABOVE THE LINE DIGITAL AD EXAMPLE ABOVE THE LINE OUTDOOR & HIGH FOOTFALL TRANSPORT HUBS RADIO A national radio campaign brought our Hello Strathallan campaign to airwaves across the UK. Stations were targeted based on their playlists, so we knew we were reaching our key audience demographic. The campaign ran across multiple commercial radio stations. DIRECT MARKETING With DF Concerts staging gigs featuring TITP artists throughout the year, we targeted audiences attending gigs by TITP acts through an in-venue flyering and poster campaign. We also teamed up with Slam – programmers of the Slam Tent at TITP – to target audiences at gigs promoted by them throughout the year, including posters in Scotland’s premier EDM/dance music venue The Arches and on- site at the Riverside Festival, a major urban festival in the heart of Glasgow, of which Slam are co-promoters. DF Concerts’ iconic venue King Tut’s also featured TITP posters and flyers in the months running up to the event. KEY MESSAGES EDUCATING FANS It was important that we dispelled myths and educated our fans about the new site – making sure important pieces of information such relating to operational changes were communicated in a way which was engaging. We created a Social Media Advent Calendar which offered followers the chance to enter a draw to win a pair of VIP tickets and also to educate them on Strathallan Castle facts ahead of new site move. REVEAL OF NEW SITE We also decided to recruit fans as ambassadors and hosted a “sneak peek” tour of the new site for media and fans. At the event, a pop-up Tennent’s At the Heart of T in the Park-themed bar served Tennent’s-based cocktails, whilst fan favourites The View and Admiral Fallow entertained fans. Founding partner Tennent’s Lager announced that an experiential bar would be a major new addition to TITP during the site tour, generating positive fan conversation. The response from fans and media was overwhelmingly positive, providing valuable pre- festival endorsement to drive ticket sales. REVEAL OF NEW SITE #WEARETINTHEPARK As well as generating excitement about the new site – it was imperative that fans understood that the T in the Park they knew and loved would not be compromised by change. So we rolled out a breakout campaign - #WEARETINTHEPARK – which focused on the unique community spirit which makes the T in the Park experience so special. We created a series of memes and an emotive video edit which celebrated the unique spirit of T in the Parkers. WATCH VIDEO EDIT HERE: https://www.youtube.com/watch?v=Zvivw_yT1vo #WEARETINTHEPARK We asked T in the Park followers to send in their reasons for loving the festival as well as pictures of themselves and their mates enjoying T in the Park. It encouraged festival goers to come together and share the excitement for attending the 2015 festival and thus, increased our social media engagement. #WEARETINTHEPARK We carried this theme throughout various pieces of social media engagement, such as a #Telfie campaign on social media was used to maintain momentum after the festival and encourage early bird ticket sales. ARTIST ENDORSEMENT Given we were positioning the move to Strathallan Castle as a landmark moment in TITP history, we used this as an angle to negotiate access to artists for emotive content which tapped into their relationship with the festival. Not only would this drive social engagement with fans, but it would provide with high profile artist endorsement for the move to the new site, creating sharable social content generated and high impact media coverage. ARTIST ENDORSEMENT #TBTINTHEPARK To further generate excitement about the move to the new site, and reinforce its significance for the event, we reached out to acts on the T in the Park line-up and collated a series of quotes from them on their favourite TITP memories, which was then pushed out to media and via social platforms. BREAKOUT CAMPAIGNS We implemented breakout campaigns for both event and Tennent’s’ revenue generation service initiatives – such as Refresh pamper parlour, Residence boutique camping packages, and the Be Chilled pre-order service - to drive sales and awareness of the wider festival experience. These were promoted via a strategic media promotions campaign in key lifestyle outlets, targeting festival- goers travelling from further afield (estimated reach: +48,560,655). OUTCOME & EVALUATION CAMPAIGN RESULTS 2015’s marketing and communications successfully drove consumer engagement and reinforced TITP’s stature as Scotland’s favourite festival, and generated a major buzz around the new site.
Load more

Recommended publications
  • ANDERTON Music Festival Capitalism
    1 Music Festival Capitalism Chris Anderton Abstract: This chapter adds to a growing subfield of music festival studies by examining the business practices and cultures of the commercial outdoor sector, with a particular focus on rock, pop and dance music events. The events of this sector require substantial financial and other capital in order to be staged and achieve success, yet the market is highly volatile, with relatively few festivals managing to attain longevity. It is argued that these events must balance their commercial needs with the socio-cultural expectations of their audiences for hedonistic, carnivalesque experiences that draw on countercultural understanding of festival culture (the countercultural carnivalesque). This balancing act has come into increased focus as corporate promoters, brand sponsors and venture capitalists have sought to dominate the market in the neoliberal era of late capitalism. The chapter examines the riskiness and volatility of the sector before examining contemporary economic strategies for risk management and audience development, and critiques of these corporatizing and mainstreaming processes. Keywords: music festival; carnivalesque; counterculture; risk management; cool capitalism A popular music festival may be defined as a live event consisting of multiple musical performances, held over one or more days (Shuker, 2017, 131), though the connotations of 2 the word “festival” extend much further than this, as I will discuss below. For the purposes of this chapter, “popular music” is conceived as music that is produced by contemporary artists, has commercial appeal, and does not rely on public subsidies to exist, hence typically ranges from rock and pop through to rap and electronic dance music, but excludes most classical music and opera (Connolly and Krueger 2006, 667).
    [Show full text]
  • Section a Concept and Management
    Section A Concept and Management 01-Raj-Ch-01-Section A.indd 1 24/01/2013 5:33:02 PM 01-Raj-Ch-01-Section A.indd 2 24/01/2013 5:33:02 PM Introduction to Events 1 Management In this chapter you will cover: x the historical development of events; x technical definitions of events management; x size of events within the sector; x an events industry; x value of areas of the events industry; x different types of events; x local authorities’ events strategies; x corporate events strategies; x community festivals; x charity events; x summary; x discussion questions; x case studies; x further reading. This chapter provides an historical overview of the events and festivals industry, and how it has developed over time. The core theme for this chapter is to establish a dialogue between event managers and event spe- cialists who need to have a consistent working relationship. Each strand of the chapter will be linked to industry best practice where appropriate. In addition, this chapter discusses the different types of events that exist within the events management industry. Specifically, the chapter will analyse and discuss a range of events and their implications for the events industry, including the creation of opportunities for community orientated events and festivals. 01-Raj-Ch-01-Section A.indd 3 24/01/2013 5:33:02 PM 4 SECTION A: CONCEPT AND MANAGEMENT The historical development of events Events, in the form of organised acts and performances, have their origins in ancient history. Events and festivals are well documented in the historical period before the fall of the Western Roman Empire (AD 476).
    [Show full text]
  • Big Scottish Pop Quiz Questions
    Rip It Up THE BIG SCOTTISH POP QUIZ ROUND 1: Same Letter Round All the answers start with the same letter – 2 points per correct answer 1 Which Scottish pop band’s biggest hits include ‘Let There Be Love’, ‘She’s a River’ and ‘Belfast Child’? 2 What is the only ABBA song which mentions Glasgow in the lyrics? 3 What was the name of the duo comprised of Jill Bryson and Rose McDowall who had a top ten hit in 1984 called ‘Since Yesterday’? 4 What was the name of the Glasgow venue on Jamaica Street which hosted club night ‘Optimo’ for most of its 13-year run through the 90s and 00s? 5 Which Scottish singer was listed by Time magazine in 2010 as the seventh most influential person in the world? ROUND 1: ANSWERS 1 Simple Minds 2 Super Trouper (1st line of 1st verse is “I was sick and tired of everything/ When I called you last night from Glasgow”) 3 Strawberry Switchblade 4 Sub Club (address is 22 Jamaica Street. After the fire in 1999, Optimo was temporarily based at Planet Peach and, for a while, Mas) 5 Susan Boyle (She was ranked 14 places above Barack Obama!) ROUND 6: Double or Bust 4 points per correct answer, but if you get one wrong, you get zero points for the round! 1 Which Scottish New Town was the birthplace of Indie band The Jesus and Mary Chain? a) East Kilbride b) Glenrothes c) Livingston 2 When Runrig singer Donnie Munro left the band to stand for Parliament in the late 1990s, what political party did he represent? a) Labour b) Liberal Democrat c) SNP 3 During which month of the year did T in the Park music festival usually take
    [Show full text]
  • Celebrating 20 Years As the T in T in the Park: Tennent's
    CELEBRATING 20 YEARS AS THE T IN T IN THE PARK: TENNENT’S LAGER’S JOURNEY AS FOUNDING PARTNER OF SCOTLAND’S BIGGEST FESTIVAL Marketing Society Scotland Star Awards 2014 Category 3.7: PR Tennent’s Lager - T in the Park 2013 Material_UK PRECIS In 2013, T in the Park celebrated 20 years as Scotland’s biggest festival, and Scotland’s favourite pint Tennent’s Lager celebrated 20 years as its founding partner. The milestone represented a major PR opportunity to tell the story of Tennent’s’ 20-year journey as the T in T in the Park, and revitalise the sponsorship’s relevance to its target market by positioning the brand at the heart of the festivities. A creative and high profile campaign generated a nationwide buzz for the 20th year of T in the Park, successfully engaging consumers and media in the celebrations and delivering strong AVE and brand cut- through. Marketing Society Scotland Star Awards 2014 Category 3.7: PR Tennent’s Lager - T in the Park 2013 Material_UK BACKGROUND – A 20 YEAR JOURNEY Over the past two decades, Tennent’s Lager has cultivated a strong emotional connection with over 2.5million festival-goers through its iconic and ground-breaking title sponsorship of T in the Park (TITP). The brand has been at the heart of the TITP experience for generations of music fans since the festival’s inception in 1994, which has enabled it to build brand relevance within its target market and develop an increased share of their lager consumption. More than just a sponsor, Tennent’s are cofounders of the festival, and together with the country’s leading live music promoter DF Concerts, they have shaped its evolution into a landmark event on Scotland’s cultural landscape, one which attracts a daily crowd of 85,000 music fans as well as the biggest artists in the world to Balado every July.
    [Show full text]
  • From Glyndebourne to Glastonbury: the Impact of British Music Festivals
    An Arts and Humanities Research Council- funded literature review FROM GLYNDEBOURNE TO GLASTONBURY: THE IMPACT OF BRITISH MUSIC FESTIVALS Emma Webster and George McKay 1 CONTENTS EXECUTIVE 4 INTRODUCTION 6 THE IMPACT OF FESTIVALS: A SURVEY OF THE FIELD(S) 7 ECONOMY AND CHARITY SUMMARY 8 POLITICS AND POWER 10 TEMPORALITY AND TRANSFORMATION Festivals are at the heart of British music and at the heart 12 CREATIVITY: MUSIC of the British music industry. They form an essential part of AND MUSICIANS the worlds of rock, classical, folk and jazz, forming regularly 14 PLACE-MAKING AND TOURISM occurring pivot points around which musicians, audiences, 16 MEDIATION AND DISCOURSE and festival organisers plan their lives. 18 HEALTH AND WELL-BEING 19 ENVIRONMENT: Funded by the Arts and Humanities Research Council, the LOCAL AND GLOBAL purpose of this report is to chart and critically examine 20 THE IMPACT OF ACADEMIC available writing about the impact of British music festivals, RESEARCH ON MUSIC drawing on both academic and ‘grey’/cultural policy FESTIVALS literature in the field. The review presents research findings 21 RECOMMENDATIONS FOR under the headings of: FUTURE RESEARCH 22 APPENDIX 1. NOTE ON • economy and charity; METHODOLOGY • politics and power; 23 APPENDIX 2. ECONOMIC • temporality and transformation; IMPACT ASSESSMENTS • creativity: music and musicians; 26 APPENDIX 3. TABLE OF ECONOMIC IMPACT OF • place-making and tourism; MUSIC FESTIVALS BY UK • mediation and discourse; REGION IN 2014 • health and well-being; and 27 BIBLIOGRAPHY • environment: local and global. 31 ACKNOWLEDGEMENTS It concludes with observations on the impact of academic research on festivals as well as a set of recommendations for future research.
    [Show full text]
  • Detecting Disease Outbreaks in Mass Gatherings Using Internet Data
    JOURNAL OF MEDICAL INTERNET RESEARCH Yom-Tov et al Original Paper Detecting Disease Outbreaks in Mass Gatherings Using Internet Data Elad Yom-Tov1, BSc, MA, PhD; Diana Borsa2, BSc, BMath, MSc (Hons); Ingemar J Cox3,4, BSc, DPhil; Rachel A McKendry5, BSc, PhD 1Microsoft Research Israel, Herzelia, Israel 2Centre of Computational Statistics and Machine Learning (CSML), Department of Computer Science, University College London, University of London, London, United Kingdom 3Copenhagen University, Department of Computer Science, Copenhagen, Denmark 4University College London, University of London, Department of Computer Science, London, United Kingdom 5University College London, University of London, London Centre for Nanotechnology and Division of Medicine, London, United Kingdom Corresponding Author: Diana Borsa, BSc, BMath, MSc (Hons) Centre of Computational Statistics and Machine Learning (CSML) Department of Computer Science University College London, University of London Malet Place Gower St London, WC1E 6BT United Kingdom Phone: 44 20 7679 Fax: 44 20 7387 1397 Email: [email protected] Abstract Background: Mass gatherings, such as music festivals and religious events, pose a health care challenge because of the risk of transmission of communicable diseases. This is exacerbated by the fact that participants disperse soon after the gathering, potentially spreading disease within their communities. The dispersion of participants also poses a challenge for traditional surveillance methods. The ubiquitous use of the Internet may enable the detection of disease outbreaks through analysis of data generated by users during events and shortly thereafter. Objective: The intent of the study was to develop algorithms that can alert to possible outbreaks of communicable diseases from Internet data, specifically Twitter and search engine queries.
    [Show full text]
  • The Best of MTV England & Scotland
    04_587733 ch01.qxp 4/23/07 11:04 AM Page 1 The Best of MTV England & Scotland The Best Brit Travel Experiences DFish and Chips: Don’t eat them in a Cambridge. And don’t forget the cucumber restaurant. These need to be smothered in sandwiches and chilled champers. salt, vinegar, and tomato ketchup, wrapped DA Night out Clubbing: Take your pick in paper, and eaten outside. Think wind- of the cities—London, Leeds, Newcastle, blown beach after you’ve just finished Manchester, Brighton, Glasgow. The Super- surfing, or park bench after a night out. club may have died a death, but even hip- DWeekend at a British Music Festival: per clubs have sprung up in its place and It doesn’t matter which one you’re at— the UK still has some of the world’s top DJs. Glastonbury, Reading, T in the Park—it will DPub Crawl: Forget barhopping, it’s so rain, the toilets will overflow, you will lose sterile. Instead, have yourself an English all your friends, and you will have the time pub crawl, stumbling from places like The of your life. Guaranteed. Royal Oak to the Old House at Home, chat- DWalk in the Rain: It’s going to rain at ting to the locals, getting the rounds in, some point in your trip, so why not savor downing pints, eating pork scratchings, the experience? Bundle up, head up onto a playing pool, and flirting with the bar staff. wild moor or cliff top, and let the wind and What could be more British? rain blast at your cheeks until they’re the DReal Ale by a Log Fire: Bottled color of freshly picked radishes.
    [Show full text]
  • Market Report 2018 Meet the Festival-Goers
    MARKET REPORT 2018 MEET THE FESTIVAL-GOERS... AGE 2% under 16 5% 16-17 41% 12% 18-20 of festival goers attend 13% 21-25 10% 26-30 6-20 gigs per year 7% 31-34 11% 25-40 GENDER 19% 41-50 56% 14% 51-60 44% 6% 60+ WHEN THEY BOUGHT TICKETS SCOTLAND 3% ABROAD 16% NORTHERN IRELAND 2% When early bird tickets went on-sale - 45% North East 8% When general release tickets went on-sale - 19% North West 14% When my friends bought theirs - 32% REPUBLIC OF IRELAND 1% After the headliners were announced - 32% Midlands 10% When the full line-up had been released - 23% WALES 3% EAST ANGLIA 4% After I saw it advertised - 16% LONDON 7% When there was an early-bird offer - 14% SOUTH WEST 12% SOUTH EAST 16% After I saw it featured in print or online media - 5% After someone I trusted recommended it to me - 11% After I saw it promoted on social media - 13% After a new music release of an artist performing - 4% WHERE THEY LIVE When non-music entertainment was announced - 1% Other (please specify) - 5% Pop / RnB FESTIVAL TICKET PRICES... Hip hop / Grime Good value for MONEY 20% Rock / Indie What type of music They’re about do they like? Dance RIGHT 55% other Classical Overpriced for Ambient / what they deliver Electronica 25% World / Reggae Metal / Punk Jazz / Funk / Soul / Blues Folk / Country THEY BOUGHT THEIR FESTIVAL TICKETS... 45% When early bird tickets went on-sale HOW MANY GIGS DO THEY ATTEND PER YEAR? HOW MANY FESTIVALS DID THEY ATTEND THIS YEAR? 32% When friends bought theirs 1-2 16% None 18% One 32% 32% 3-5 30% After the headliners had Two 25% been
    [Show full text]
  • Exploring the UK Festival Scene
    Exploring the UK Festival scene What makes a festival? Or more specifi - and ingrained in the festival spirit. traditional ‘fallow year’, while the whimsi - cally, what makes a British festival? Across While Glastonbury is largely recognised cally eclectic Secret Garden Party, a won - fields, seafronts and the paved streets of now as being the pinnacle of the festival derland of neon and glitter in the London, summer brings people of all in - scene, the Isle of Wight was at the fore - Cambridge village of Abbots Ripton, per - terests and backgrounds together as one. front. Beginning as a counterculture event manently came to an end last year and In 1971, a year after its debut, a film between 1968 and 1970, it was recognised Scotland’s T in the Park has announced a crew captured the atmosphere of as the British equivalent of Woodstock. Its hiatus. ese aside, though, leaves no Glastonbury festival (see Nicolas Roeg’s 1970 line-up consisted of Joni Mitchell shortage especially as T in the Park has documentary Glastonbury Fayre ). Hair standing harmoniously in a yellow maxi been replaced by TRNSMT, a city festival flowed, tan coloured flares danced, tassels dress under the afternoon sun and Leonard in the centre of Glasgow which happens waved and light-weight, loose garments Cohen gripping the audience with his over the last weekend of June and first seemingly floated with the bodies of their tuneful poetry. e Who and e Doors weekend of July. supplied the rock and roll while Jimi wearers moving in swirling hypnotic mo - While most festivals are a temporary tions to the banging of drums.
    [Show full text]
  • Window on Britain
    WINDOW ON BRITAIN NAME: _____________________________ 3 ESO ____ YEAR 2018-2019 INS JULIO ANTONIO Let me introduce myself Hi, my name’s .................. I’m from .................. (country) I live in .................. (city) My birthday is on .................. There are ... people in my family. Hobbies – Free time activities reading, painting, drawing They are ............................................... going out with friends My father is a ............... and my mother a .................. surfing the Internet clubbing, barhopping My hobby is ....................... going to the cinema playing with my dog My favourite sport is ....................... going to the park/beach/… listening to music In my free time, I also like .............................. shopping, singing, dancing I don’t like .............................. travelling, camping, hiking knitting, cooking My favourite food is ....................... My favourite drink is ....................... Favourite places My favourite day of the week is ............ because ..................... my home my living room My favourite month is ................. because ...................... my bedroom the beach My favourite singer (or band) is ................. the shopping mall the sports centre I like ................. (movies). the library the park My favourite place is .................. I like it because ................. (…) I (don’t) like travelling. I have been to .................. Movies The most beautiful place in my country is .................. action movie comedy I study English because ................................. romantic comedy horror movie sci-fi movie war movie thriller Because… animated cartoons … I like it a lot. … I think it’s important. … I need to use it for work. Jobs … there are many things to see and do. teacher policeman doctor … I have to. nurse builder architect … I can relax there. civil servant engineer social worker … it’s relaxing/popular/nice/… secretary businessman shop assistant … it’s the last day of the week.
    [Show full text]
  • Music Finland UK
    Music Finland UK 2012–2013 / REPORT “It seems to me that at the moment “It takes a lot to get noticed in a place “Through The Line of Best Fit’s continued like London where there is so much going on all obsession with Nordic music and our historical Finland has an awful lot to offer in music. the time. But I think with the LIFEM – The Finnish links with the likes of the Ja Ja Ja club night in Line concerts at Kings Place, the Ja Ja Ja London, we’ve always kept a very close eye on And it’s about time we need to go and find it, Festival at the Roundhouse and the Songlines the sounds coming out of Finland. In the last CD, Finnish music really did make an impact. It’s three years, the quality of emerging talent has explore it, share it with people – because it’s the quirky, surprising and adventurous quality been just incredible and we’re seeing some real- of Finnish music that stands out – alongside ly unique invention and envelope–pushing from just too good to hide!” the musical virtuosity.“ all of the bands on this special release.” SIMON BROUGHTON / SONGLINES PAUL BRIDGEWATER / THE LINE OF BEST FIT, JOHN KENNEDY / XFM COMMENTING ON THE LINE–UP FOR MUSIC FINLAND’S OFFICIAL RECORD STORE DAY RELEASE 2013 “While Finland in the past might have “One of the best musical experiences held back a little from taking its scene to the of 2013 for me was going to Helsinki’s Kuudes world, their current united front means this is Aisti festival – an amazing site and brilliant “Having recently attended festivals in “Finland’s musical life is still a shining example changing.
    [Show full text]
  • Waste Management at Outdoor Events
    Julie’s Bicycle Practical Guide: Waste Management at Outdoor Events The arts and creative industries are ideally placed to lead on environmental sustainability; with creativity and inspiration they can champion a greener economy, energy efficiency, challenge our reliance on fossil fuels, make creative use of otherwise wasted materials and open new ways to greener production and living. Waste at Outdoor Events: Version 2014 Julie’s Bicycle Practical Guide: Waste Management at Outdoor Events V12 2015 1 Julie’s Bicycle Practical Guide: Waste Management at Outdoor Events © Julie's Bicycle 2015 Julie’s Bicycle Creating the Conditions for Change There are four key stages to taking action on environmental sustainability: Practical Guide: it mm U Waste Management at Outdoor Events o nd C e r s t a n d e t a c i n u I m m m p o r o C v e • Commit: put in place the structures, resources, policies Your success at integrating environmental sustainability into What this guide will cover Who is this guide for? What this guide will not cover and responsibilities necessary to support and action the way you work is often dependant on the internal culture your initiatives. of your organisation and the resources available to you. This guide will help organisers This guide is aimed at anyone involved This guide focuses on waste of outdoor events develop an in waste management decision making management in the context of • Understand: understand your impacts and establish Your key ingredients are: knowledge; skills; time and environmentally sustainable approach at events, particularly event managers, environmental sustainability and is systems to measure and monitor them on a continuous enthusiastic people.
    [Show full text]