With the meteoric rise of streaming giants Spotify and Apple Music, many within the UK music industry feared it was the beginning of the end for traditional recorded music. Some artists may have believed those fears were realised, with 2017 marking the first-time globally that digital music has surpassed recorded music.
Live music, on the other hand, has been booming in the UK. In 2016, concerts contributed upwards of 1 billion to the UK economy, outstretching recorded music (streaming, CDs, and Vinyl; yes people still buy those) by almost £400,000. Nearly 40 million tickets were sold last year to live music events like concerts and festivals that are becoming increasingly popular across the UK. This has led to live music now raking in 25% of the industry’s revenue. So it’s safe to say the likes of Adele and Ed Sheeran are still standing strong.
Live music events have been a staple of UK culture for a long time and over the last 30 years or so they have evolved in size, attendees, and so have the acts they put on show. Now they appear to be in their prime. Festivals and concerts are becoming increasingly popular and younger demographics are becoming hooked on the experience that recorded music just can’t deliver. With a host of massive events across the UK each year it’s no surprise they contribute so much to the industry. Festies have the choice of some major events, such as the reputable Glastonbury, which attracted 175,000 revellers over its 5-day duration. Alongside this, the UK boasts Reading/ Leeds festival, Creamfields, Boardmasters, Nass, Womad and many more. While concert gigs from Adele are providing entertainment to 100,000 strong each night, for 3 nights. This level of success throughout the year highlights the strength of the live music sector.
Of course, part of the experience of attending live music isn’t just about seeing your favourite artist (or being dragged along by your other half to something you are really not fussed about!). Live music has changed and evolved over the years to take a greater focus on the overall experience. Music venues of all sizes have now invested in this experience, knowing that not only do customers make a decision about the artist, but they also now make a decision about the venue.
Now you can dine out, drink and relax in customer-focused environments before, sometimes during and often after the concert itself.
But the experience is only as good as the people who work in the restaurants, concessions, and venue itself. This is why all the best venues, irrespective of size, invest in employing the right people and focus on training. Recognising those concert goers will no longer settle for second-rate service, venues have taken it up a notch. Berkeley Scott staff over 1.4 million jobs every year with around 20% of them being on the entertainment side of hospitality. This includes music and sporting events, at prestigious venues. Wembley remains one of our biggest clients for both music and sporting events, while we staff regularly for Lords cricket ground, the LCCC and Twickenham Rugby stadium.
This is great for the temporary worker who now has an even greater range of opportunity. But it is conversely a challenge for venues. Competing for the best people means that venues must up their game – they need reliable, trained staff on hand and they need to be easily accessible too. That’s where Berkeley Scott comes in. Partnering with a professional supplier can make the headache go away and ensure that the people part of the live gig experience is every bit as good as the star performing.
But this is not without its own challenges. Venues such as Wembley can often require around 4000 members of staff for one event and have multiple events occurring throughout the day. This is a huge demand for a recruiter to fill, yet Berkeley Scott succeeds in meeting these demands, and provides skilled reliable staff every time, without fail.