WORKING EVENT SECURITY;
THE GOOD, THE BAD & THE MEMORABLE Part I
In my first article, I wrote about the memories and reflections I have had in the event security industry. Most are positive memories, of good co-workers, a memorable show, an interesting location, a great vantage point or meeting a performer. Of the 500 plus concerts and 700 plus games/events, most are enjoyable, but do not stand out for any particular reason other than another night at work. After many years, even a good show still has me looking at the time thinking, “Okay, when is this show over.” Some guests overstay their welcome and never seem to have anywhere else to go. As the song says, “You don’t have to go home, but you can’t stay here.” At the end of the night, I just want to go home. For this installment, I will turn to some of the irksome issues that make for memorable moments in the event industry. These are the times of incompetent or untrained co-workers, a disappointing show or a no show by an artist, a lousy position placement or an obnoxious, entitled guest. An event can go many different ways anytime a hundred to sixty thousand people gather for fun and entertainment.
While some people complain about the sound system, obstructed views or obnoxious fans, security cannot solve all the issues but we do have several options to employ. First, I do not recommend floor seats for young people at a concert unless they have an aisle or front row seat, as they will not be able to see above other in front of them. Secondly, many young people are sensitive to the loud music and lights. Conflicts happen between fans for many reasons, usually someone is too loud, intoxicated, shouting racist or abusive language, throwing food or blocking a view. If a nearby fan is obnoxious, politely ask them to stop, do not get into an argument before involving security. An anonymous fan text is useful to involve security before issues escalate. Once an issue escalates between two parties it is difficult for security to determine who is at fault, typically it is two contradictory stories. Unless there is a clear breach of conduct, it is a warning; any further breach is an eviction. Sometimes, if available seat relocation is an option. Obstructed views are usually only released if the concert is sold-out and demand is so high that people are willing to go despite the view. When the artist is at fault, such as a no show, the option is a ticket refund or a later show.
First, a few house rules for most venues that fans should be familiar. Smoking and vaping are not permitted; usually people receive a couple verbal warnings, continued non-compliance results in an eviction. It is surprising the number of people who think they can go out for a quick smoke and return to the show. There are no smoke pits at indoor venues; some outdoor venues do have a designated smoke area. Do not bring in outside or concealed alcohol; this is grounds for a denied entry. Intoxication is an immediate eviction, security do not give cut off warnings. Outside meals and drinks cannot enter where a venue sells food inside, finish your food outside. Pocket-sized snacks can enter, particularly for children. Restrictions on reentry, oversized bags, backpacks and water bottles have now become issues of contention due to the threat of terrorist activities and performers struck by projectiles. Exemptions on food and backpacks are for medical needs and young children, people try to stretch the age far past reasonable limits. Another security nuisance is the comedy performer who does not allow any videoing or recordings of a performance. Failure to comply results in an automatic eviction, not a fun rule to enforce. All because the performer is worried about copyright infringement.
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Of all the events, I have worked Lions, Whitecaps, Canucks, and Warriors etc. It is the concerts that hold the most memories; the excitement of fans waiting in line for a spot close to the stage, the long lines for merchandise, the scramble of people for a guitar pick or those who wait around after the show begging for a set list or a signed album.
There is nothing worse for a fan than spending a lot of money on a concert ticket only to go home disappointed. I often feel sorry for and surprised by how much fans will pay for what I consider a lousy concert. What makes for a lousy concert? An artist who starts very late or does not show up at all. An overly political and pretentious artist, who would rather preach a political ideology than play the songs the fan’s came to hear. An artist who disrespects or is out of touch with the fans. Artists far past their prime who no longer sing or play close to their former level. A band that no longer has any original members or only one original. Exorbitantly priced tickets for canned music, auto-tune, and lip-syncing and minimal stage effects. Rude and entitled fans who spoil others’ enjoyment with obnoxious behavior. Then there are the people who through sheer stupidity and selfishness ruin their own night but somehow never own the behavior.
As I am usually on the floor or close to the stage, I like to know the kind of audience I can expect for a show as that will likely dictate the shift I am going to have. I work concerts that I will enjoy, either performers I have followed musically or new up and coming acts with a fresh or interesting sound or stage presence. I avoid taking shifts that feature acts I do not follow such as rap and some hip pop. I am neutral on Country music; the crowds are fun but hard drinking with many intoxicated evictions. Ethnic concerts such as South Asian I no longer work due to past encounters of multiple intoxications, entitled behavior, disrespect towards staff particularly women and fights between large groups. Persian concerts are typically high-class affairs and fun to watch. Asian concerts are a dream to work, as the fans are reserved, respectful and rarely require any security intervention. EDM shows are fun as well; the only issues are typically medical calls. Metal bands that attract an older crowd have a good following, they come to enjoy the music, the drinking and smoking are manageable with some evictions to be expected. The younger Indie concerts have a fun, loose vibe and a generally polite audience.
My biggest concert disappointments are the ones that have a built up hype around them, a well-known legendary performer who fails to deliver or a rising star that is only a one hit wonder. Many performers have careers that span decades, some artists I have now seen four or five times while others I am still hoping to see. Then there are the artists I really do not care to see again. First up are the ones I call the ‘too old to rock & roll category’, that should have hung it up and retired. One cannot fault an entertainer for doing what they love and wanting to continue as long as the fans still want to see them perform. I have been fortunate enough to see many performers such as Cher, Paul McCartney, Dolly Parton, Rolling Stones, Neil Diamond, Tom Jones, Elton John and John Fogerty put on amazing shows into their eighties. However, the entertainment industry can sometimes be unforgiving and take a toll after long hard years of a party lifestyle on the road.
One of the earliest disappointments was Tom Waits at the Orpheum, October 2004. I had never heard of him before, so I was open to hear something new. When he came out on stage to perform, I honestly thought they brought in some drunken street person from the back alley. He looked like he had not eaten or slept in a week, mumbled and growled through his songs. The sound was a horrible muddied mess. One woman complained to me about some noise from others and said she had paid $300 for her seat near the front. “I’m sorry to hear that”, is all I could say about such a waste of time and money.
Second, Meatloaf at the Abbotsford Event Centre, June 28 2016, Bat Out of Hell Tour. I grew up listening to the Bat out of Hell album and the MTV concert footage of Paradise by the Dashboard Light. The album was groundbreaking with powerful instrumentation, intense vocal parts, great lyrics, power ballads and lusty rock. Unfortunately, he looked like he already had one foot in the grave. He had previously cancelled a show due to exhaustion. A once a powerful voice strained to reach the high notes and at times cracked. His youthful sexual vigor gone, now replaced with jokes about his age, taking Geritol and going to bed early. Not long after he died, an entertainer to the end. Similarly, Kenny Rogers, Gambler’s Last Deal, at the Abbotsford Convention Centre in October 2016. He was so old and debilitated by that time he required help to get on stage. He sat during the entire performance and his multiple facelifts took away any natural expression. His melodic voice reduced to sharing the vocal duties. The movie clips during his songs brought a nostalgic charm but it was sad to see how much his health had declined. The final candidate in my too old to rock and roll category is Bob Dylan, twice over.
First time I worked a Bob Dylan concert was the Orpheum July 19 2005, The Never Ending Tour. I had the stage front, a perfect view over my shoulder, along with a mature, sedate audience. However, Dylan was sick at the time and could not play guitar opting for keyboards instead. So no iconic guitar and harmonica combo and secondly, his performance lacked the energy and iconic moments from back in his earlier days. Again, on July 25 2017, The Never Ending Tour came to Rogers Arena. This time, I did not recognize one song, very little audience interaction and he appeared to have little energy to walk to the microphone. Compared to Neil Diamond who played the day before, Dylan was a pale shadow.
