5 March 2026
Dylan Gregson was one of the 2025 recipients of the Roundhouse Live Events Internship in partnership with Greenpeace and the Jamal Edwards Self Belief Trust. He reflects on his summer with the internship, which included working on the Greenpeace Field at Glastonbury as well as events at the Roundhouse.
May: the Beginning
The first month of my internship at the Roundhouse was a whirlwind of new experiences and eye-opening moments.
One of the most memorable days was shadowing my very first live show alongside Mike, who generously took the time to show us around every nook and cranny of the venue. This tour wasn’t just about the obvious backstage areas, it included the infamous walk across the horrifying metal netting at the very top of the venue. Looking down through the mesh with the stage far below was both nerve-wracking and exhilarating, and it gave me a whole new appreciation for the technical crew who work up there regularly without batting an eye.
Seeing the Roundhouse operate as a full-scale live events machine was inspiring. One day the stage would be set for a concert, and the very next, it would be torn down and rebuilt into something completely different for another artist. This constant transformation sparked something in me, a realisation that production design, especially in the festival world, might be where I want to focus my career.
Another highlight came on my very first day, when I met the Greenpeace team. They were warm, driven, and passionate about their mission. Sitting in on their planning sessions for various festival areas, I began to understand the scale of what it takes to run a socially and environmentally conscious presence at major events. I even got to help create some of the informational materials they would use throughout the season. This experience planted the seed that I could merge my love for events with my passion for sustainability.
May: Meeting My Jamal Edwards Foundation Mentor
Through the Jamal Edwards Foundation, I was introduced to my mentor, Jay. He’s a creative with a fascinating career path, from working with Dolby, to organising his own comedy shows, to producing striking graphic design projects. Our first conversation was full of possibilities.
I shared my hopes of getting more involved in festival lighting and production, and Jay immediately started talking about contacts he could introduce me to. He also hinted at opportunities in music events and offered guidance on how to start positioning myself for employment in the creative industries. It felt like having a supportive guide who not only understands the industry but also genuinely wants to help me succeed.
June: Glastonbury with Greenpeace
Then came the big one — Glastonbury.
Spending the month with Greenpeace at one of the world’s most iconic festivals was nothing short of magical. The first day was surreal: walking through the vast, empty festival site before the gates opened. No crowds, no noise, just an endless landscape of stages, art installations, and the promise of what was to come.
I had the chance to meet the people who run some of Glastonbury’s most vibrant areas, including the creative masterminds behind Shangri-La and Block9. Their energy, ideas, and ability to create immersive worlds from the ground up left me in awe.
My role with Greenpeace was varied and hands-on. I created the artist information pack and developed several tools to make life easier for the team, one being a streamlined system for transferring contact details into phones for all 300 on-site team members. It was problem-solving on the fly, and it felt good to create something genuinely useful for such a massive operation. By the end of the month, I wasn’t just learning about festival production, I was living it. From logistics to creative design, from quiet planning meetings to roaring live events, this internship has been a deep dive into the world I want to be part of.
Glastonbury wasn’t just about the work, it was also about the music, the atmosphere, and the people. Over the course of the festival, I got to see some incredible performances from artists I’ve admired for years. Loyle Carner’s set was a masterclass in heartfelt storytelling. Kneecap brought raw, unapologetic energy. Groove Armada delivered an infectious wave of nostalgia and basslines. Jungle had the crowd dancing in perfect unison, and Fatboy Slim’s legendary set reminded me why he’s still one of the most enduring names in dance music.
What made it even more special was experiencing these performances from so many different perspectives, sometimes from the crowd, other times from behind the scenes. Being able to witness the festival from multiple angles gave me a deeper appreciation of how much work, coordination, and creativity it takes to keep something of this scale running smoothly.
One of my favourite parts of the week was connecting with Sofia and Alice, who had both completed previous internships with the Roundhouse and Greenpeace. It was inspiring to hear how those opportunities had shaped their careers. Sofia’s creation of Sexy Lady Massive particularly caught my attention. The collective has links to 4AMKRU and several DJs who’ve played at events my friends have organised, which made it feel like my worlds of work, music, and community were starting to overlap. It’s exciting to see how the connections you make in this industry can ripple out in unexpected and inspiring ways.
July: Roundhouse in Office Experience/Shadowing
Coming back from Glastonbury was a tough adjustment after the sheer amount of walking, averaging around 70,000 steps a day, which felt like a workout in itself. If you ever go to Glasto, prepare yourself!
When shadowing afterwards, I had the chance to stay for the full set of a show, this time with Peter Cat Recording Co., an incredible Indian band. Their performance was outstanding, and one of their songs has since become one of my most-played tracks on Spotify. While shadowing, I also learned important rules about stage use and what artists can and can’t do, which gave me a deeper understanding of live performance protocols. Experiencing a gig at the Roundhouse was unforgettable, the audio quality was so good I didn’t even need earplugs.
August: Boomtown Festival (Holiday)
During my internship, I had a holiday that coincided with Boomtown. Although not part of the programme, it was still a valuable experience, as this was my fourth time attending and the very place that first inspired my passion for festival work. Boomtown, for me, represents the peak of stage design and the culmination of creative ideas.
That summer I was lucky enough to experience two of the UK’s leading festivals, both from a working perspective and as an attendee. Seeing the behind-the-scenes effort and then watching everything come together was incredible, and the photos I captured from the festivals tell the story better than words can.
August: the End of the Internship
The internship went by quickly, but I had a lot of fun and gained so many different experiences. One of the highlights for me was meeting my mentor, as it gave me a real insight into his journey and how he reached the position he’s in today.
Glastonbury was another unforgettable part of the experience, it still feels surreal that I was able to both work and enjoy the festival, especially as part of the Greenpeace team.
What stood out just as much was the Roundhouse team itself. No matter what floor you were on, or even if you weren’t working directly with someone, everyone was always so friendly and supportive. It makes the Roundhouse a truly special place to work, and I’m confident that future interns will have just as positive an experience, if not an even better one.
Applications for the 2026 Roundhouse Live Events Internship in partnership with Greenpeace and the Jamal Edwards Self Belief Trust are open until midnight on Sunday 8 March. Find out more and apply here.