By Monumental Sports

Monumental Sports & Entertainment (MSE) has partnered with KultureCity to make Capital One Arena and all of the programs and events that the arena hosts sensory-inclusive. The partners cut the ribbon on The Costabile Family Sensory Room inside the arena in Washington, D.C., to further offer an inclusive and positive experience for all guests and fans who may need additional sensory accommodations during the 220+ games and events each year.

“Monumental Sports is proud to add this impactful feature for guests to the Capital One Arena experience and contribute another important moment to the arena’s rich history,” said Marina Soffer, Sr. Manager, Arena Administration, Monumental Sports & Entertainment. “We’re in deep appreciation of the commitment of KultureCity and sensory needs champion David Costabile in helping us to create the best possible experience for every guest at all times with this new space.”

David Costabile, actor, D.C. native and sensory room benefactor and family were joined by Capital One Arena and KultureCity representatives to display the sensory room features and cut the ribbon on the new space. Members of the Multi-Platinum, Grammy Award-winning band Imagine Dragons who sit on the KultureCity Board also participated in the event ahead of their headlining concert in honor of Capital One Arena’s 25th Anniversary.

“I am so proud to be involved with the great work that Kulture City does across our country in so many different venues to not just raise awareness but create avenues for inclusion. Having a sensory room in our family name is a tremendous honor. This room and others like it give families an oasis of calm in what can be a very chaotic environment for anyone dealing with sensory issues. As a parent who has searched for just this kind of haven to reset, it is a godsend. Without even the possibility of a room like this many families would be excluded from participating in all of the great sporting and entertainment events Capital One Arena offers. Thanks to them and thanks to KultureCity for all of the work they do to offer an inclusive, calming spot for all, “said David Costabile.

KultureCity-developed sensory rooms provide a dedicated space designed by medical professionals for those who may need a quieter and more secure environment. This is imperative to ensure fans have the highest quality guest experience. The sensory room at Capital One Arena is outfitted with custom door and window treatments by SelectBlinds, bean bags from Yogibo, the visual light panels by Nanoleaf, activity panels, Sparkle Interactive Light (by NunoErin – a therapeutically fun furniture embedded with soft glowing lights that respond to motion), bubble walls, and a custom tactile artwork created by an autistic artist. The space is located at the Administrative Entrance on Level 1 across from section 115/116 and is available for all games and events.

As a Sensory Inclusive™ certified venue, Capital One Arena staff are trained each year by leading medical professionals on how to recognize those guests and fans with sensory needs and how to handle a sensory overload situation. Since 2019, sensory bags equipped with noise-canceling headphones (provided by Puro Sound Labs), fidget tools, verbal cue cards (produced in conjunction with Boardmaker) and weighted lap pads have been available to all guests at Capital One Arena who may feel overwhelmed by the immersive audio and visual experience.

“Our communities are what shapes our lives and to know that Monumental Sports & Entertainment is willing to go the extra mile to ensure that every guest at Capital One Arena, no matter their ability, is included in their community is amazing,” said Uma Srivastava, Executive Director, KultureCity. “We’re honored to collaborate to provide a truly inclusive experience for all fans and guests!”

Sensory sensitivities or challenges with sensory regulation are often experienced by individuals with autism, dementia, PTSD, and other similar conditions. One of the major barriers for these individuals is sensitivity to overstimulation and noise, which is an enormous part of the immersive environment at large sports & entertainment venues.

Before attending an event at Capital One Arena, families and individuals can download the free KultureCity App to view locally available sensory features and how to access them. Also on the App is the Social Story which will provide a preview of what to expect while enjoying a game or event.

By Kai Hattendorf

A lingering pandemic in China and elsewhere. War in Europe. Inflation rates not seen in a generation in major markets. Droughts, hurricanes, and record temperatures. It’s certainly not “business as usual” as we write the closing chapter for 2022. And 2023? Not all will be black and white, and economists are using endless types of grey in their outlooks for the next year.

What will this mean for our industry? As with every year, the Global Association of the Exhibition Industry (UFI) team has been listening and chatting with our members and industry leaders from all around the world to get their views on next year. Here, in five concise themes, is our view on what will shape the next 12–18 months.

Doubling Down on Customer Focus

It is easy to become distracted by the big picture, but it is important to stay focused on what we do best as an industry: build and operate marketplaces. In the coming year, we will (re)learn what we applied in the recession 15 years ago—focus on the customers, make sure they have a successful show, and make the right connections. We will learn other industries, other colleagues, other geographies, plans for dealing with inflation, strategies for adapting operations, and other workflow adjustments that are needed. But don’t let the pressures of the day distract you from that essential mission.

The Climate Crisis Will Hit

This will impact us on multiple levels. Extreme weather conditions will lead to show cancellations or postponement more regularly, and they will prevent some people from participating. Our customers increasingly have their own net zero targets to achieve, and that will shape the way they participate in our shows. We will also need to tangibly demonstrate our own “race to zero” plans for our events, which need to become a greener option for business each year. We will have to show that business events are part of the solution to the climate crisis. We have to compare the carbon impact of participating in our events to the carbon footprint required to generate the same amount of business without two or three days at a trade show. We can do this. We have the tools. Part of our Net Zero Carbon Events initiative is to develop the carbon aggregate measurements for events.

More Data, Less Hype

More and more, data insights and intelligence drive the development of shows and portfolios. We are done with debating whether or not “the future is digital.” It is, and we are creating it as an industry. What some still call “hybrid events” is really just the smart adoption of technology and data to make the face-to-face marketplaces we run more successful for the buyers and sellers on and off the show floor. In 2023, the hype around “hybrid” or “metaverses” that has been fueled by marketing spent from startups or Silicon Valley based conglomerates will lose steam. People will use what actually works for them. It will be less glamorous but more efficient.

Staffing Stays Key

Everyone is hiring. Still. And it will stay like this. We need new skills, new talent, and new perspectives. We now understand that we need to better “sell” our industry to the people who we want to work with us. Our Next Generation Leaders say that we are the industry that builds and serves communities. We give purpose, and as a result, we are one of the most attractive industries in the world. Let’s take this new staffing narrative and roll it out globally. Let’s be at the forefront of people’s minds as they are entering the workforce! Let’s work to bring in the most diversely talented and educated people that make—and keep—our industry a true melting pot of different talents.

Accelerating Change

During the pandemic, we learned how to flex our adaptability muscles. We had time to experiment and learn from both our successes and failures. Since then, we have had a bit of a return to normal where our customers are back at our shows, and they are generally happy. But we cannot just “play out greatest hits.” We need to push the envelope. We need to do more, and we can do more. We now have teams that are seasoned at fast adaptation. They are making more data-based decisions and are open to learning from each other. Expect this to lead to more new ideas, new formats, new launches, mergers, acquisitions and other developments that will drive the eternal engine of our industry.

Kai Hattendorf is managing director and CEO of UFI, The Global Association of the Exhibition Industry.

By Molly Rosenberg

Affiliated entertainment booking and consulting companies Venue Coalition and ArenaNetwork, Inc. (VCAN) added eight new arena members to their roster in 2022 and now represent more than 100 independent arenas across North America. Some of the newest venues in the VCAN portfolio include State Farm Arena in Atlanta, H-E-B Center at Cedar Park, the brand-new Hero Arena at Mountain America Center in Idaho Falls, and the recently renovated Legacy Arena at the BJCC in Birmingham. Including theaters, stadiums, and convention centers, the organization now represents over 150 independent venues in more than 80 markets across North America, totaling over two million seats.

“Arena Network and Venue Coalition working together has become the ideal resource for independent venues and content providers who route national and regional tours throughout North America,” said Andrew Prince, CEO of both organizations. “Focusing on touring events between 2,000-25,000 seats, we often collaborate with decision makers to help narrow down which venues they will play based on the parameters of the tour. VCAN can provide preferred deals, dates, traffic, and more as needed, to help make it a seamless booking process for the agent, promoter, producer, and artist.”

Kim Carr, Entertainment Manager at DECC, AMSOIL Arena and Symphony Hall in Duluth, MN, says, “We are excited for our complex to be the newest member of the VCAN family. The staff has been incredibly generous with their guidance and resources. In our short time as a member, we have been connected to similar venues as well as new promoters and agents, already resulting in additional bookings. With the help of VCAN, we look forward to growing our entertainment calendar and knowledge.”

Michael Marion, CVE, General Manager of Simmons Bank Arena in North Little Rock, and long-time ArenaNetwork board member, is very pleased with the results of the collaboration between the two organizations. “Both ArenaNetwork and Venue Coalition have always been about communication and information. By joining forces, the experienced staff can continue to help venues attract talent they aren’t always aware is available, and advocate for why our venues are the best choice to play. The ability to share information with over 100 buildings provides helpful operational assistance and insights into the latest trends. Having access to the resources within the group is a real asset in these changing times. This partnership has created a significant and positive impact on Simmons Bank Arena and the other members of VCAN, and we look forward to continued success together.”

Molly Rosenberg is Director of Administration and Special Projects for Venue Coalition, Inc.

(Editor’s Note: Earlier this year IAVM Director of Safety & Security Mark Herrera took his live safety training and situational awareness to Denver Arts & Venues. In August, Mark’s training paid off in a real-time incident at a city venue that mitigated what could have been a more serious situation. Kristin Morgan-Hughes recently shared the benefits of Mark’s training. There is no better testimony for your venue taking the training after reading what Kristin has to share.)

On August 21, 2022, ingress was in full swing for the national Broadway tour of Pretty Woman. Typically, this process takes an hour. About nine minutes into the ingress process my security manager came up to me and said, “Do we know why SWAT is outside?” I looked up and saw several officers in tactical gear and automatic rifles. My stomach sank and my first thought was, “No. Not us.”

I walked outside to find one of our off-duty officers. In hindsight, I probably shouldn’t have just walked outside, but I was flooded with thoughts and questions. I was on a singular mission to find out what was going on. I stepped outside and found our off-duty officer. This is an officer who is always smiling. Never have I seen him this serious. He knew he had to be clear with me because he knew I would be one of two to start rallying the troops. He looked at me, no smile, and said, “Active shooter.”

I know now that he said a lot more in that moment, but all I heard was that phrase. “Active. Shooter.” My heart raced, my mind flooded but the officer grabbed my arm and said, “Are you ready? I need your help.”

That was good enough. I was back. I was able to focus. He explained that we needed to get everyone inside the theatre because we were looking for the shooter. Our venue’s parking garage is attached to our venue. We were told he had a gun and was in the garage. As the information settled with me, my co-manager and I spoke briefly and “went into action.”

We learned in our training with Mark that panic helps no one. Calm demeanor is key. We never said the words “active shooter” to our staff but were very firm and kind in our instructions. We implemented a radio silence mandate with our staff so that my partner and myself could communicate openly with each other and the supervisors. We stationed the staff inside and gave them language to use with the patrons. They were directed to welcome them into the building, let them know that the show is delayed in its start and that information will be offered as soon as we have it. The bar staff opened the bar to everyone and offered free bottled water to our especially anxious patrons. We were told by Denver Police Department to lock the building down and prevent anyone from leaving. We were authorized to use the language, “Under the order of Denver Police, we are in a lockdown at this time.” While it is frustrating not to be able to answer inevitable questions that follow a statement like that, it was a good statement to make. It was clear and concise.

My partner and I stood outside of the venue and directed all patrons into the building per DPD instruction. My partner was placed behind a concrete pillar with a bullhorn, and I stood with our DPD officer because my position was exposed. In order to mitigate the panic that could ensue, we continued to greet our patrons by saying, “Hi folks, welcome! At this time, we are under a lockdown order from Denver Police. We need you to enter the building as quickly and safely as possible. Please enter now.”

That seemed to work. People didn’t ask questions, they just followed directions. Once inside the building, they were greeted by our usher staff. We re-deployed our staff to all emergency exits and near restrooms. We wanted to make sure we could move the patrons out of the back of the building if needed and wanted to keep an eye on the restrooms to prevent people hiding in them.

About 30 minutes before the show was scheduled to start, we got permission from the tour to open the house of the theatre and allow ticketed patrons to enter and find a seat. This relieved a lot of congestion from the lobby. Once again, we re-deployed our staff to guard exits and make sure everyone was able to find their seat.

Meanwhile, outside, the search for the person was still underway. Approximately 20 minutes after the lockdown went into place, the call was downgraded to a suspicious person. We got a little more information. Apparently, the person had a “long gun” and was looking for an ex-girlfriend. DPD was confident he was no longer in the parking garage, and they were double checking the rest of the venue campus. We were confident we would get the all-clear within the next half hour. In the meantime, we continued the protocol we had been using to get everyone off the galleria (space in front of our theatre) and into the building. Our team continued to remain calm and move with the flow of the situation. Not a single usher was in a panic or asked to leave. It was a remarkable sight to see.

At approximately 8 pm we got the all-clear to release the patrons in the lobby and give a choice to the ticketed patrons. They could stay and watch the show which was going to start in about 20 minutes, or they could leave, and the box office would work with them on a refund. The show definitely went on (fifty minutes after its scheduled start time)! Way over half of the patrons stayed. Amongst the patrons who chose to leave were a family that approached my partner and thanked him for our calm staff and positive attitudes during a situation that was clearly stressful. That party then shared with my partner that they chose to leave because they were just a little too emotional at the moment. The reason for this was because they were at Columbine high School when that shooting occurred.

In hindsight, I have a ton of questions. However, I will NEVER cease to be amazed by my staff. This was a DIRECT result of the training we received from Mark. The most important takeaway for me was this: Our situation was NOT an active shooter situation when it was all said and done. We were very lucky in that regard. We did not, however, know that was the case. Our training kicked in and we couldn’t have been happier with our staff. This training is something you should hope you never need. But having it and not needing it is so much more reassuring than needing it and not having it.

Thank you to Mark. I got through the situation because I was lucky enough to participate in his training.

By Gail Sawyer

ASM Global—the world’s leading producer of entertainment experiences, venue management, and event strategy—has promoted industry veteran Alex Merchán to chief marketing officer overseeing the global portfolio that represents 20,000 events across 350 venues, hosting more than 164 million guests worldwide.

In making the announcement, ASM President and CEO Ron Bension said, “In less than one year with our company, Alex has been responsible for reimagining our marketing support infrastructure while simultaneously dramatically enhancing our network’s external initiatives for our clients and partners.”

In his new role, Merchán, whose most recent ASM Global position was executive vice president of marketing, will spearhead the company’s branding and positioning across key areas including global partnerships, digital and CRM strategy, business development, and advisory and investing efforts across the U.S. and internationally.

“This is the thrill of a lifetime,” Merchán said. “The biggest sandbox in the world and the opportunity to engage with fans across entertainment, sports, and business … that’s what our marketing team gets to work in—with the most prestigious collection of venues on Earth. That means we know the rules of the game better than anyone else, and we play it better than anyone else.”

Since joining ASM Global, Merchán has also overseen all strategic marketing, PR, creative services, and digital efforts across ASM Global’s portfolio’s stadium, arena, convention center, and theatre network worldwide. This has included a focus on such initiatives as prioritizing the customer experience and elevating the guest insights database via innovative partnerships with Qualtrics XM, which Bension said has redefined the guest experience across “all venue types and has provided ASM Global venues the global standard in achieving customer experience success.”

He has also actively been involved with ASM Global’s CSR’s Global Acts commitment to sustainability, community, and DEI efforts.

Prior to his time at ASM Global, Merchán oversaw marketing for Live Nation’s Clubs & Theaters division following a decade-long stint at Hard Rock International establishing the strategic direction for 175 venues in 74 countries representing a billion-dollar business overseeing both sales and marketing in that

Gail Sawyer is group communications manager for ASM Global (Asia Pacific).