Crowd Science

Module 7, lesson 5 · 40 minutes

Monitoring and real-time decisions

How a control room watches crowd density, why triggers and actions must be agreed before the event, and what happens when nobody knows who can stop the show.

You’ll be able to

  • set density triggers for an area and attach a pre-agreed action to each;
  • explain how reference images and counting support judgement in a control room, and why camera angle misleads;
  • describe what show-stop and hold decisions need, using Astroworld, Hillsborough and Kanjuruhan as cases.

Introduction

On 5 November 2021, at the Astroworld festival in Houston, ten people died of compression asphyxia in the crowd. The Houston Police Department’s 1,266-page report, released in 2023, assigns no blame, but its timeline contains one number every event professional should know: 37 minutes passed between the declaration of a mass-casualty event and the end of the show. The operations plan did not address crowd surges, and who had the authority to stop the show was unclear.

A crowd in trouble rarely announces itself in a way everyone recognises at once. By the time it is obvious, minutes matter, and a decision that has to be debated is a decision that comes too late. This lesson is about seeing early and deciding fast, which means doing most of the deciding before the event begins.

Seeing density from a control room

The quantity to watch is density, the subject of module 1’s first lesson, and the instrument is usually a CCTV screen and a trained eye. Eyes are poor instruments without calibration. Still warns that “Crowds rarely pack in regular formation” and that “Density can appear higher with lower CCTV angles”. Figure 1 shows why: from a low camera, heads further back hide the floor between people, and a crowd at 2 p/m² can look solid.

Same crowd, two cameras. A low viewpoint hides the gaps and makes density look higher, which is one reason Still treats camera angle as a source of error. Schematic.

Three practices make judgement more reliable:

  • Reference images. Images of known densities taken from the venue’s own cameras let an operator compare like with like: this is what 2 p/m² looks like from camera 14, this is 4. Their purpose is calibration, not decoration.
  • Known areas. If the floor area in a camera’s view is measured in advance, an operator can count heads in a small patch and divide by its area rather than guessing. The next lesson builds this into a counting method.
  • Counting flows. Counts at gates and on routes tell you how many are arriving and leaving, which density alone cannot. After 2006 the Jamarat Bridge introduced automated camera counting for exactly this reason.

Triggers and pre-agreed actions

A trigger is a pre-defined, measurable condition, such as a density in a named area, that obliges a named person to take a pre-agreed action. The point of a trigger is that the argument happens in advance, in daylight, with the plan on the table, not at 21:30 with a crowd in difficulty.

Density thresholds give the rungs. Typical UK event planning works at 2 p/m²; Still treats 5 p/m² as the upper limit for standing and viewing, labels 5 “Maximum” and 6 “High Risk” on his risk scale. For crowds that need to keep moving, the numbers are lower: Johansson and colleagues recommend keeping density below 3–4 p/m², and Still’s own pages put the critical range for moving crowds at 2–3 or 2–4 p/m², an inconsistency covered in module 2.

An illustrative trigger ladder for a standing area. The density anchors are Still’s; the amber level and the actions are this course’s example, to be set for each site in its plan.

Three things make a ladder like this work. Each action is specific and already resourced: “hold entry” means a named gate team with a radio call-sign, not a hope. The decision-maker for each rung is named, with a deputy. And the trend matters as much as the level: an area at 3.5 p/m² and rising fast may need the amber action sooner than one sitting steadily at 4.

Draft trigger levels and actions for the concourse outside a stadium’s exits after the final whistle. Why would you not copy the standing-area ladder?

The concourse is a moving crowd, so its triggers should sit lower: for example amber when density rises past about 2–3 p/m² or outflow from the area starts to fall, red approaching 3–4 p/m² (Johansson et al.’s ceiling). Actions might be holding spectators in the stand with PA messages, opening additional exit gates, and metering at the station. A standing-area ladder with red at 5 p/m² would let a moving crowd pass its flow maximum and into stop-and-go before anyone acted.

Decisions under pressure: three cases

Who can stop the show?

At Astroworld the authority to stop the show was unclear, and 37 minutes passed between the mass-casualty declaration and the end of the performance. A show-stop should never be improvised. It needs a written procedure, a named person with the authority to use it, an agreed way of telling the performer, and pre-scripted announcements, all rehearsed. The decision-maker must be able to act on a trigger without seeking further approval.

An action without flow control

At Hillsborough on 15 April 1989, exit Gate C was opened at about 14:52, and about 2,000 people entered. Nothing controlled where those people went once inside, and the 2016 inquests found that the central pens were already full before the gate opened. Any action that releases a crowd into an area must come with control of where it goes. Module 8 reads the case in full.

The anti-pattern

At the Kanjuruhan Stadium in Malang, Indonesia, on 1 October 2022, police fired tear gas into the stands. Police said 11 rounds; Indonesia’s human rights commission found about 45 inside the stadium. All the gates but one were locked, and 135 people died. The fact-finding team named the tear gas as the main cause. FIFA’s regulations already said “No firearms or ‘crowd control gas’ shall be carried or used”. Every element was the opposite of good practice: an action that created a sudden rush, exits that could not take it, and no information for the crowd.

Information is a control

Of all the levers in a control room, the public address system is the fastest. Module 3’s collective resilience lesson gives the evidence: crowds act on information, and honest, specific messages that tell people what is happening and what to do make the crowd a partner in the response. A message script for each trigger level belongs in the plan alongside the action.

Write the three things a show-stop procedure must name, and explain why Astroworld’s 37 minutes is evidence for each.

(1) Who decides, with a deputy: the authority to stop the show was unclear. (2) The triggers that oblige them to decide: the operations plan did not address crowd surges, so nothing told anyone when to act. (3) How the stop is carried out (telling the performer, lights, scripted announcements): without a rehearsed method, even a decision takes time to turn into silence on stage.

  • “An experienced operator can judge density by eye.” Not reliably: crowds pack irregularly and low camera angles exaggerate density. Reference images and known areas calibrate the eye.
  • “Stopping the show causes panic.” That is the panic myth of module 3, and the evidence on crowd behaviour does not support it. What matters is telling people clearly what is happening and what to do.
  • “Triggers are a matter for judgement on the night.” The judgement belongs in the plan. On the night the job is to recognise the trigger and act.
  • “Opening a gate relieves a crush.” It can move the crush somewhere else, as at Hillsborough, unless the destination is controlled.