Technical11 June 2026
Why a live stream should never depend on venue WiFi
Guest WiFi at a venue is designed for a few hundred people checking email. It is not designed to carry a broadcast, and it is shared with everyone else in the building.
Daniel Wilkinson
Founder and Operations Director, dwmedia
That does not mean venue internet is useless. It means the distinction matters.
Dedicated line versus guest WiFi
A dedicated tested line is a hard connection, usually wired, provisioned for your use, with a known upload speed you have tested in advance. Plenty of venues have one. When there is one, we use it, because a good wired line is the best connection in the building.
Shared guest WiFi is a different thing entirely. The upload is unpredictable, it fluctuates with how many people are in the room, and you have no visibility of what else is competing for it. A room filling up is enough to take a stream down. We do not put a broadcast on it.
The word "tested" is doing real work in that first paragraph. A venue telling you they have good internet is not a test. Connecting to it and measuring the upload at the time of day your event runs is a test.
What travels with us regardless
Bonded 4G and 5G across multiple carriers, so a single network having a bad day is not a single point of failure. Starlink for sites where cellular coverage is thin or absent.
These come to every job, including the ones with a perfectly good venue line, because the point of redundancy is that it is there before you know you need it.
The question to ask any supplier
Not "do you have backup internet". Everybody says yes to that. Ask what happens in the first thirty seconds after the primary connection drops, and whether the viewer sees anything.
If the answer involves somebody noticing and then doing something, that is not failover.
More on connectivity with no infrastructure and redundancy and backup systems.
Written by
Daniel Wilkinson
Founder and Operations Director, dwmedia
Dan has run live production since 2014, from single-camera council committee streams to sixty-date arena tours. He has worked in 18 UK arenas including The O2, the AO Arena and the OVO Hydro, and covers 16 or more festivals and 30 or more arena dates a year. He writes these from the job rather than from a desk.