LIVE
OUTSIDE BROADCAST
at night when you look out over the crowd when the headline is on, it will really define a bit more what people at the event are seeing. Not just the detail on stage, but also the detail in the environment.” This year, only the Pyramid
Stage gets the UHD treatment but “hopefully in the future it’ll be more stages. When we first started broadcasting in HD, or even when we started to do live streaming on the iPlayer, we thought ‘will this catch on?’ And now those things are totally normal.” Howe says the iPlayer channel will
really add to the home experience. “If you just really want to watch Billie Eilish, you know exactly where to find her performance. But equally, if you want a nice Saturday afternoon at Glastonbury and you want to feel what it’s like being there, we’ve got the iPlayer channel this year, which means we can broadcast live in a curated sense for the first time during the day.”
QUICK THINKING As with many events this year, “we had a slightly interesting scenario in that Arena was one of our main OB suppliers,” says Howe. “So, when that sadly fell apart at the end of last year, we had to get going to make sure that we would have all the facilities that we needed given it’s such a busy time in the calendar.” Quick movement on crewing is
also a necessity. “It’s a really busy live events calendar, which is great, because it hasn’t been. But it means you’ve got to be quick to get the people that you want. Luckily, we have been able to retain a lot of really talented people across the board.” Part of that team will arrive on
site “at least two weeks out including engineering and technical managers.” The production management team go the weekend before the event with the broadcast infrastructure arriving at the beginning of the week the festival kicks off and then “the majority of the editorial teams arrive at some point
between Wednesday and Thursday lunchtime.” The timetable has shifted slightly this time. “We’ve taken a decision this year that, because it’s been three years, we’d like to get a real sense of the atmosphere on Wednesday [when the festival officially opens] and the Thursday. We’re on air from the Thursday night.” Howe says Covid disruption is
always at back of mind, but “by the time we get to Glastonbury, we’ve already survived two or three big productions, whether it’s the Jubilee or Radio 1’s Big Weekend, so we get used to it. It becomes part of our whole resilience planning.” Besides, she says, “I’ve had to
reimagine quite a lot of existing shows over the last couple of years but the exciting thing about Glastonbury is, it’s a massive communal experience returning. The presenters are excited, the artists are buzzing. There’s a sense of anticipation and excitement. And I hope for the people who are watching, we can do it justice.”
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