Having featured in the pages of TPi and TPiMEA several times during our recent coverage of live events, it has been a while since we paid a visit to PRG’s UK base, just outside of Birmingham. Not only was the company’s headquarters primed for major renovations but there has been a significant reshuffle of personnel, with the addition of some new faces to greet TPi at the door. The first, Miles Hillyard – a veteran of the live events industry, who joined PRG back in 2022 and now holds the title of Business Development Manager, alongside newly appointed Marketing Coordinator, Francesca Parry and Digital Content Creator, Dylan Swann. They would be our tour guides for the day as we traversed the company’s impressive warehouse and The Bridge.
During the visit, we got an in-depth look at some of the company’s processes for servicing kit as well as its extensive preparation area. Amid the tour, it was clear that its inventory was expanding. This included a great deal of equipment purchased following Anna Valley going into administration as well as new acquisitions which include over 1,500sq m of LED video panels and the addition of nine video and broadcast specialists to the 200-strong UK team. “Last year, PRG made the biggest investment it ever has across the group in LED for our UK stock,” stated Hillyard. “I would say the UK is a real jewel within the wider PRG network as throughout our office – we deal with most of the international acts and are a big part of the global companies long-term strategy.”
Within the walls of PRG, although working very closely with one another, the company does have four unique segments of speciality with teams focussing on music, theatre, corporate and TV. With this being a TPi visit, it was no surprise that our focus was on the music side of the business and as such after the tour we gathered around the board room to speak about some of the current trends in this market vertical.
LIVE TOURING TRENDS
Ben Holdsworth, PRG UK Account Manager for Lights and Rigging in Music, picked up the story: “After 2020, we had a whole year to catch up on projects that had already been sold, and thankfully due to our size, we were able to cater for this demand,” he explained. “However, with an increased price of ticket at the larger stadium end, there has been a notable slow down on the arena level of touring. We’ve seen multiple acts scheduled for arenas drop down to several nights at academy-sized venues.”
Due to the size and capability of PRG, the Music team expressed that they were still able to be competitive within the largest level of shows but everyone around the table expressed concern about the shift of arena-level shows and the knock-on effect this will have on finding and creating the future stadium-level artist.
“This industry is our life and many of our clients are also good friends,” explained Account Executive, Music and Special Events Kelly Cornfield, citing rock band, Ocean Alley’s September academy tour.
“While we have the capacity to deliver some of the largest global stadium events at the highest quality we also put the same care and attention on the delivery of any smaller emerging break through artists down to the academy level’,” added Hillyard.
BRIDGING THE GAP
One thing that was clear, based on a tour of the facility and the conversations around the table, was that PRG is exploring alternative ways to support other areas of the market – specifically with The Bridge. Developed amid the COVID-19 pandemic, The Bridge is a project conducted by PRG to provide a creative space for the industry. Four years on, this wing of the PRG base provides a 17m by 35m clear floor space and minimum 6.2m to the beam clearance with a 400A distribution board providing enough power for all departments of academy-level rigs. The Bridge also offers more than enough office space for incoming productions along with a full pre-visualisation suite.
“The money you’d have to spend on a truck to get your equipment into a production rehearsal space can be used for a full day of rehearsals at The Bridge,” noted Holdsworth.
However, it isn’t just visiting artists and production teams that PRG are hoping to support, but also, those looking to make their first strides in the industry. As we toured The Bridge, TPi had the pleasure of meeting Josh Shewell – a recent graduate of PRG’s internship scheme who was preparing show files ahead of Rockstar Energy presents Creamfields.
“We’ve have successfully grown 20 apprentices over the last few years,” said Hillyard. “As part of the three-year scheme, they will be trained in all aspects of our business and will get exposure to on-site roles as they progress. I think it’s fair to say when any company gets to a certain size, there is a tendency to only think of the ‘bigger shows’, however recently, we’ve done a lot of internal reflection and realised the importance of training the next generation of engineers.”
Holdsworth expanded on this point, discussing how crew personnel for the UK were often in demand on the international stage. “There’s a high demand for UK skills, which is why it’s important to maintain this initiative to futureproof the sector.”
THE GLOBAL NETWORK
In addition to the growth of UK operations, TPi was keen to discover more about the global reach of the organisation and how PRG’s vast network collaborates. “I characterise PRG not as a multi-national but a global business,” stated Holdsworth. “With operations in 29 countries, we have the ability to support a show anywhere on earth.”
Christopher Holz, PRG Account Manager, Video, added: “We’ve got many locations around the world – from Australia to the Middle East and Europe – but we’ve also got alliance partners in less prominent countries including Asia, Croatia, Greece and South America.”
As well as being able to draw on extensive stock resources, Holdsworth highlighted how PRG can draw upon its extensive network of people. “At this year’s Download Festival, we provided custom screens, which required the expertise of Alastair MacDiarmid – a leading expert in large scale LED deployment who has overseen projects like MDLBEAST’s Soundstorm in Saudi Arabia – who we flew in from New Zealand to manage the LED delivery,” stated Holdsworth.
Based in the US, Randy Hutson, Senior Vice President, Music and LiveTV, shared some of the challenges PRG faces as an international company working in the live events space: “Collaboration and communication remain our biggest challenges,” he said. “We often find ourselves working down to the wire, with production changes sometimes occurring right up until the tour launch. Fortunately, our extensive footprint and experience enable us to navigate these requests with ease. In addition, the evolving marketplace has driven a greater emphasis on pre-production involvement for PRG – creating changes in our workflow and expanding our role across productions.”
Holdsworth underlined the growing importance of a 360° service for clients. “The demand for turnkey solutions has increased in recent years,” he explained.
“The concept of the 360° deal is considered by many in the industry these days, though there are less than a handful of companies around the world that can often accommodate this request. Most companies can only offer one to two disciplines per tour. Production and tour managers are beginning to understand the value of enlisting us for every leg of a global touring campaign.”
SUSTAINABILITY
As part of the ongoing sustainability initiative, significant refurbishment works are taking place allowing the team to meet its sustainability goals with enough solar panels on the roof to power its warehouse facility and The Bridge. “We are also installing double glazing throughout the space to improve efficiency in line with our global strategy for sustainability” stated Hillyard.
This strategy includes retrofitting older equipment under the PRG umbrella, making it LED compliant. “We have re-engineered and recycled our Bad Boy and VL5 range with LED engines,” reported Holdsworth. “We didn’t want to scrap the technology as it is still valid and highly requested.” PRG has been known for award winning proprietary products with its long line of lighting fixtures and ever-popular GroundControl Followspot System featuring on the riders of some of the world’s biggest touring projects, the company’s reworking of existing technology to be more complaint with more modern and sustainable measures are not in vain.
LOOKING TO THE FUTURE
Compared to some of his colleagues, Peter Marshall, PRG Sales Director for Theatre, was one of the more established names within the company, having worked for the company since 1987. Like his counterparts in the music industry, PRG UK’s theatre department handle many international productions as well as London’s West End.
“We’ve currently got four touring shows in China alone,” he enthused, while also giving special mention to the Mamma Mia! Tour, currently enjoying its 20-year anniversary. Having been part of the industry for such a long time, Marshall mused on some of the ways PRG separates itself from other businesses. “We are one of the few companies working across theatre, corporate, music and TV. Those in theatre have learned a lot from touring – especially when it comes to packaging a show. These days, a theatre show goes out on pre-rigged truss with everything being compact and neat,” Marshall noted.
In closing, Hutson shared his thoughts on what the next few months look like for PRG, globally. “We have several exciting projects underway, including the release of a new multi-fixture remote followspot control solution that promises to enhance our capabilities. All indicators point to strong pick-up heading into 2025. Clients need to book now, or it will be very difficult come the start of the fourth quarter. Next year will be a wild ride!”
Words: Stew Hume
Photos: PRG
