Eurovision usually passes me by with little interest beyond waiting to see if the UK entry gets null points. But this weekend the 2024 competition has been an example of how issues and incidents can threaten to derail an event. It also follows on the problems that were highlighted in the opening of the new Coop Live venue. So what do these events mean for crisis communication?
Every event that takes place from a small summer fayre at a school through to a huge global music contest has risks attached. It is important to understand these risks and to use them to consider what plans may need to be in place to manage any situations that may occur. The school event may be affected by weather, sickness, some form of disorder while the big events can be affected by building incidents, protests and in the most serious situations terrorist attack. We have to think the unthinkable and understand these threats so that action can be taken to be prepared.
Could the Eurovision have prepared for the range of incidents that occurred? Yes. Could Coop Live have prepared for the problems that it has faced? Yes. As a good friend and seasoned crisis communicator Donald Steel has said you can prepare for every possible situation. This includes solar flares, alien invasion and more.
Anyone running an event has a significant duty of care to those who attend as well as to staff and the visiting artists and others taking part. This means having more than crisis management plans in place. It requires crisis communication plans that connect to key agencies who will be taking part, and that understands the implications of scenarios on others. The plans have to consider scenarios, what will be said and to whom, and how those affected can be supported. It requires different skills from those used to promote events and encourage people to visit.
There is so much more that venues and event operators large and small can do to be ready to effectively respond to and manage challenging situations. As Figen Murray continues her long walk to London in bid to get Martyn’s Law into legislation, this feels even more critical. If you are not aware of Martyn’s Law it requires venue operators to take steps to improve security. This should be mandatory to improve safety and you can check out Figen’s walk on social media.
My hope is that after the significant challenges faced by Eurovision and by Coop Live those who re operating venues consider whether they are really crisis ready. Do they have the required communication plans in place? Are they focused on understanding the impact and helping those affected? Do they connect to how others will operate such as emergency services, sponsors and artists’ management? And most importantly have they been tested to ensure that people know what to do and that the approach will work? Now is the time to take action and ensure we are crisis prepared when organising and running events.
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