NOTE: This advice is based on "First Impressions" and readers are asked to
contribute their own opinions in order to build up a comprehensive picture.
Seating advice for events using an arena will be added over the next few months
after events have taken place and views assessed. he Arena has a large flat space in the centre,
either for seating or standing; with two blocks of seats down
the long sides. The long side seating blocks are permanent and divided into front and rear sections
by aisles between rows H and J. What is done with the seats placed in the flat
space in the middle depends where the stage is put. Notes
This Advice deals with "End Stage Layout" events - the most usual
arrangement. In this layout, most common for all events including pop concerts, a wide stage is at the
West end of the arena. The flat space in front of the stage is filled with seats. Most of side blocks
N and S 1 to 3 may not be used or have a "restricted view" depending on the
position of the stage and any equipment placed there.
CENTRAL ARENA SEATS
These are the ones that the Box Office push hardest in Theatremonkey's
experience. There is a good reason for this. In this monkey's opinion you have
to be out of your mind or desperate to buy most of them beyond the front rows of
section A. Regular Wembley goers
know this and avoid sitting here unless utterly insane to get a ticket. The
moaning he endures form those seated here…
There are four sections of seating here - A, B, C and D. A blocks are nearest
the stage - 24 rows of seats. B blocks are directly behind - 22 or 23 rows. Then
comes a gap before the C blocks - 17 rows, and D blocks - 21 rows.
In sections A and B there is no rake (sloped floor) so if someone tall sits
in front, tough. Section C is raised by plinths - the first row about five inches above the 47 rows ahead of
them. Section D is shallowly stepped, raising all seats slightly above those in
front.
Taking each section in order from front to back:
Section A is split into three blocks. Block A3 (seats 22 to 39) is the most
central, with A2 (seats 1 to 20) and A4 (seats 41 to 60) either side of it.
Rows 1 to 8 in
all blocks are best - take the row furthest forward is the monkey advice here,
before worrying about how central they are...though central is prime of course!
Next come rows 9 to 14 - also a reasonable bet, though shorter folk may have a
problem seeing over anyone ahead.
One reader comments, though,
"My wife and I saw Dolly Parton on 25th March 2007. We had front row seats in
Block A3. Unfortunately this means that you can't see anything that is further
back than about two metres from front of stage. We didn't see Dolly make her
entrance and when she sat down to play piano all we could see was the top of her
head ! Probably about four rows back from the front would be better."
Interesting comment felt the monkey, who would add that to an extent what you
see depends on the height of the stage, staging and your own height - all of
which are variable, as another reader confirms,
"Saw 'The Who' on Wednesday 27th June 2007. Great, high energy show as usual but
in all the times (16), that I've seen them live, I've never been as close to the
stage as that night. We were third row from front in block A4, seats 47 to 50.
Great view even though everyone stood throughout. The stage wasn't too high and
there was only a narrow pit between the front row and the stage unlike some
concerts where you could park a bus and still have room to drive round it. I'd
realised a few days before that my not quite 5' tall daughter might struggle to
see if everyone stood but she just stood on her seat and no-one seemed to mind.
Tickets were pretty steep at £65 but most of the seats were that price so
we'd have paid that or the lesser price of £50 anyway. At least they didn't make
the first few rows gold or premium grade to push the price up even more. Also
nice to go to a completely no-smoking venue which the arena has been for a while
now."
The rest of the rows in sections A and all rows in section B
offer a view of heads (especially if you are shorter) and little else to recommend, except being closer to the
stage than sections C or D.
Monkey regular Lee opines,
"Not sure why you have seats in block B as Red because they are fine for every
show I have seen at Wembley, the stage is high enough that the lack of rake is
never really a problem but I guess others may disagree."
The monkey comment is that because the stage is not permanent, there can be
problems if the design varies in height. Also, the taller you are, the better in block B as there is no "slope"
to raise each row above the ones in front.
Another reader in Block A comments,
"I thought it might be good to mention something about the Central Arena Seating
which bugged me when I saw Dolly Parton on 25th March 2007. Sitting in the
second row of block A3 (seats 17 and 18) we were joined by to teenage boys,
which I was not in the slightest bothered by as you get everyone at concerts.
Well the teenage boy that was sitting right next to me decided it would be good
to continuously shake his leg up and down with the music (which again is fine by
me) but in A3, because the seats are detachable, all of our 4 seats were
attached and with his shaking came constant rocking back and forth of the
seating. So it might be worth mentioning this."
Brings a whole new meaning to "shake, rattle and roll" thinks the monkey, who
was upset to hear about this behaviour.
Moving back from the A and B sections comes section C. Split into five blocks
- C3 the most central - the front three rows of Blocks C1, C2, C4 or C5
are the emergency fall back position. The plinth raises you slightly above the
poor souls in row 22 of block B. You may see the stage, though the performer
looks like a large matchstick.
Block C3 in the centre of the arena looks a good bet, until the sound mixing
desk is dumped in the front of it. Take it from the monkey, nobody in blocks C3 or D3
enjoy the view much. Luckily, these seats are normally left unsold, or sold last
or cheap as "restricted view" tickets.
Behind section C comes section D, the only section on the floor area to have
seats "stepped" in a shallow tier arrangement. D2 or D4, from about 3 rows back
may provide a little more view, but again remember that shorter people could
have up to 84 rows of people standing up in front of them between themselves and
the stage.
Reader John gives more detail, based on his visit to Kylie Minogue's concert
in January 2007:
"As well as Block D being on a rake, Block C is stepped too. C and D merge into
one another with only the row numbers going from 17 to 1 to signify this. Each
step in height is shallow and has 2, yes 2, rows on it. Hence if you're in the
2nd row and short too you're really up against it. The front rows on each step
are odd numbers in Block C and even numbers in Block D. If you're in C/D blocks
then I'd recommend you choose these rows every time, as at least the step gives
an advantage over the row in front.
The sound desk is at ground level so C3 and D3 can see over it as they're
raised above, but the step/height problem will remain regardless."
Another reader feels about block D,
"D4 Row 3 Seats 53 and 54, good view in my opinion. Bit too expensively
priced generally as they are on the flat. If you get stuck behind
someone tall, you're doomed. Comfortable (I think) as I was standing up
most the time! Sound is fine."
All the seats in blocks A to D are normally at top price. Lately, the first few rows
of block A - the good stuff remember - have had a further premium mark-up added.
Trust monkey, it is worth paying to sit in the first 5 rows. Even though it is a
VERY greedy thing for promoters to do to fans. Turn purple with anger and pay
up. A reader suggests taking N/S15 before the back rows of block D because,
"You're in line with the back of block D which is ore expensive, so in that
respect it is better value than being at the back of block D. If you're in the
front row of the block then you have an unobstructed view, albeit at a
head-turning angle 80 degrees to the left (or to the right if in block S15).
Those who suffer neckache beware"
Legroom is pretty acceptable in all seats in this area for all but the
tallest over 6ft or so. A reader agrees,
"Leg room was good (A block) and the seats were reasonably comfortable. I can't
recall if this is a change, however they were padded (on the seat part) I don't
think they were before."
The monkey recalls seats in the side tier sections being padded, but not the
floor ones...but is happy to be corrected!
EAST TIER SEATS
Also known as "East Terrace" seating
Grandstand tiers at the very back of the arena,
and cheaper too. They rise steeply upwards (around a 45 degree angle), so a few
vertigo sufferers might not be keen, but for everyone else, when seats at the front of the arena have gone, buy these.
You will see an ant in the distance - the performer, but you will see the
performer, and the video screens, without necessarily having the view even more
badly obstructed by the back of someone in front of you.
Seating here is split into E2 and E3, the central sections which look
straight down the arena centre, and E1 and E4 which, at the extreme ends (seats
1 to 12 and 91 to 102) look over the side terraced seating towards the stage.
Seats F16 to 23 and F79 to 87 look over a low wall - not a problem except for
the shortest person, the monkey felt. Indeed, it could be an advantage having
nobody in front of you...
Row P seats 14 to 16, 34 to 36, 66 to 68 and 87 to 89 may also be desirable
as they face down the aisle with either a fully or partially clear view (nobody
in front of you!).
Of the rest of the seats in this section, take
row E upwards.
Metal work at the front of this block can be annoying for the front four
rows, when in place.
Legroom is fine in all seats for all but the very tallest. Dancing in the aisles is not permitted so be
prepared to do what you can in your own space.
SIDE BLOCKS
Also known as "Grand Tier" (rows A to H) and "Upper Tier" (rows J to W) seating.
These are long rows of tiered seating down the sides of the Arena either side
of the central floor area. They are
split into the lower "Grand Tier" and higher "Upper Tier" section. In practise,
the gap is simply a wall and space for gangways. Depending which side of the
arena the seats are, they are either in the "North" (N) or "South" (S) tiers,
but the numbering of seats and sections is identical - the monkey talks about
both sides simultaneously by using the abbreviation N/S.
Make sure you get the right one, as it is a LONG walk around to reach the other
sections!
Every block in both Grand and Upper tier is split into two by an aisle. In
all blocks except N/S 1, 2 and 3, there are entrance doors breaking up the
seating. In the Grand tier the doors are in the "lower" number halves of each
block, and the first row above the doorway is F. Rows A and B are missing in
these halves too, to
allow gangway access. These spaces also provide wheelchair room. See notes.
In the Upper Tier the doors are in the "higher number" halves of each block
and the first row is N above the doorways. Rows J and K in these halves are missing to allow gangway access. For
those lucky enough to be behind the doorways, this means a low wall (nobody in
front to look over) that is unlikely to trouble many but the shortest. Low
safety bars also run along in front of each doorway in the Upper Tier, but don't
affect the view enough to worry about, in the monkey opinion.
For those in the Upper tiers, seating in rows L and M on the highest numbers
halves, around the doorway, may not be the greatest as there is a wall to one side.
Worth going a row behind, feels the monkey.
A reader makes a strong case for this:
"It appears they do not sell seats in the following positions.... S/N3 Row L37
and M 38 & 37. S/N5 Same relative position to the previous. These seats have a
restricted view because of the entrance door surround to their left/right.
I was in seat S5 M66 and if I was sitting in my seat straight then I would not
be able to see the left 1/3rd of the stage. As it was not much was on it and if
I leaned forward I could see. Anybody not six foot tall like me is likely to
have a greater reduction. I would propose marking those seats as red on your
plan."
The monkey has done so, and with the seats in similar position down the whole
arena. Another reader reports on this issue:
"I went to see Billy Joel on Wednesday 12th July 06. We were in block N5 row L
seats 65 and 66. I know people have made comments about these seats not being
too good. For me they were fine. You could sit right back and see whole stage.
But seat 64 would be a nightmare. You would have to lean way forward to see the
whole of the stage, are next to a wall with the top/ side of the door blocking
almost half the stage. It's disgraceful that they charge full price for that
seat."
Another reader agrees,
"I had tickets to see "Muse" on 23rd November 2006, sitting in block S5 row N
seats 65 & 66. Reading the other comments on this site I was a bit apprehensive
but I have to say the seats were superb. My friend and I had a full view of the
stage. I'd go as far as to say I would recommend these seats to others as the
view was pretty awesome. Saying all that, I do think that the seats L64 and M64
would have been pretty poor, especially M64. I reckon you'd need to stand to see
anything."
These seats are not always sold, the monkey notes. As a rule, if they are,
then you should be OK seems to be reader feedback. Wembley don't knowingly sell
poor seats without a warning, and sometimes tickets are released once a set has
been built and sightlines confirmed by the staff as acceptable.
First choice of
seats is in blocks N/S 6. Seats 20 to 28 are actually closer to the stage
than the first row in the centre of the arena. Rows C to F are best. Blocks N/S 4 at the front of
N/S 6 are the prime wheelchair spaces, users should take this first over
the rest.
See notes.
A reader rated the view in S3 as "OK, but a bit side-on maybe."
Reader Jason says,
"I went to see Bruce Springsteen at Wembley last night (12th November 2006) and
thought I would let you know some positive feedback about the seats I had in S5
Row J Seats 48 and 49. They offered a clear view of the stage and there was no
walkway or aisle near to distract you. Considering the seats were right behind
the VIP area, I thought they were great value seats considering how much people,
possibly, paid to sit in Block S6/8. I would definitely try and get similar
seats if I were to go to Wembley again."
Reader
Christopher H says,
"Went to see "The Cure" in March 2008. We had S8 block row E seats 64 to 66. These were incredibly satisfying, except
seat 66 had a slight restricted view which was caused by the handrail. I
was excited because the monkey had given this a green rating, although
you should advise people about the handrail at the end of the rows. There was nothing special
about this arena, I would probably prefer the O2, but if you go remember
to pick seats in either blocks S6, S8 or N6, N8; or, if you want to experience
the whole atmosphere of the concert, take central arena standing if available."
Next take blocks N/S 8 seats 80 to 92, rows A to F then rows G to H, then blocks
N/S 10 seats 93 to 105 or else try blocks N/S 3 and 5 rows J to N (but not
L and M highest numbers if possible) seats 30 to 66. For wheelchair users, block
S/N 8 is next choice. See notes.
Finally, there is a choice. Either take the seats in row O back in blocks N/S 3, 5 and 7 (remember that they are high up with a viewing angle that can cut
off the view of the back of the stage).
The other option is to try for either N/S 10 seats 109 to 121 or rows J to
N in blocks N/S 9 seats 84 to 108. Then the rest of the rows behind row N in this
section. These are half way down the arena but have a
good view compared to seats in the centre block as you are raised above heads in
front. For wheelchair users, block N/S 10 is next choice. See notes.
A reader reports from block 10 that:
"Seats in row were O.K. - could of had worse! I did wish I was much closer
as I could not see the singer properly except on the big screen".
And that pretty much sums up the experience from half way down - you pay for
the atmosphere as much as the view.
All the above mentioned seats are better than anything past row 12 in the
central arena blocks in this monkey's opinion.
The rest of the blocks along the side, except small parts of N/S 15 which
are down the sides of blocks E1 and 4, are preferable to anything in the centre
arena. At least you will see the performer even at a great distance, rather than
just heads of the people in front. And you pay less for the privilege.
Blocks N/S 12, then 9, 11, 14, 13 and 15 in order are the
choice - though remember to take anything in section E (from row E back) before
block 13 (seats 164 to 175), and all of block 15 . Take the furthest forward seats available in each block, deciding
whether to move further along the row rather than sit more rows back each time.
For the monkey, it prefers to sit further back but closer - but other readers
are happier with front rows but further along.
From S13 a reader says,
"S13 Row V Seats 155 and 156: Much better than flat seats blocks A - D.
Bit far away from the action if just the normal stage, fine for 'Dancing
on Ice' (with centre rink). Bit far back and dark. Seats definitely
comfortable although little legroom, can see past past tall people.
Sometimes ridiculously priced, and I would rather not come at all then
pay full price when D was the same price for this particular event!"
Blocks N/S 12 and 14 have wheelchair spaces. The plus side is they are at the
front of the block, the minus is they are a very long way from the stage. Take
block 12 spaces first. See notes.
Blocks N/S 15 are in the far corners of the arena. Often
unsold, you will see less, and folk further along leaning forward can be a
problem. Also, avoid seats L199 and 200. These face a black wall and have less
legroom than usual. Claustrophobic and totally avoidable even for those who
"just want to be there" in the monkey view.
One reader liked N15, though,
"Sitting in block N15 at Wembley Arena recently was far back but not bad for
sound positioning. You're in line with the back of block D which is ore
expensive, so in that respect it is better value than being at the back of block
D. If you're in the front row of the block then you have an unobstructed view,
albeit at a head-turning angle 80 degrees to the left (or to the right if in
block S15). Those who suffer neckache beware."
Most of side blocks N/S 1 and 2 are not used for end stage concerts as they
are behind the stage. They are, on occasion
sold to personal callers as restricted view seats at the last minute. Ask about
them. You can often only see the very front of the stage, but at least it is
close to the performers. These seats are worth trying for if anyone will sell
them to you and you just want to "be there", but remember that you may well not
see as much as you hope.
Legroom in all seats is OK to generous for all but the tallest (least legroom
in the front row of the section behind gangways), and most will find it pretty
comfortable. Worth seeking out are the seats in the centre of the block in rows
H and W. These are on the gangway with nothing / only half a seat in front, and
can prove more comfortable for many. Identify them by calculating the numbers
missing beside the aisles in the other rows. Dancing here is harder than in the
centre arena and the staff don't let you stand on your seat.
Notes
Capacity is around 12,200 fully seated.
This is a no smoking venue throughout. Thanks to new ticketing technology,
"Pass Out" permits are available to allow smokers to leave the building and
re-enter if they require.
Not air conditioned but such a barn it does not get too uncomfortable. Avoid
rows P to W if really susceptible to heat though as heat rises. Take a jacket or
sweater to ice shows as the place gets cold. Something to do with the stage
surface muses theatremonkey.
Wheelchair users have access to places in five blocks, level from the foyer.
2 lifts are also available for users.
Adapted toilets available near each section, and to a very high quality with
automatic doors, space to manoeuvre in each cubicle, grab rails and alarm cords. Guide dogs can be dogsat but are not allowed in the
auditorium. Occasional performances are signed. A hearing loop is now
installed to help those requiring it. Wheelchair users also have low
counters available at food and souvenir stands, and in the box office.
Car users with appropriate Blue or Orange disabled badges are given a discount,
and may book at the time they reserve their event tickets. Designated disabled
spaces are in the Yellow Car Park on the South side of the arena - Lakeside Way.
Call 020 8782 5500 (Monday to Friday 10.30am to 4.30pm) for more information or
to book. NOTE: This line is for disabled assistance ONLY and is not available
for general public enquiries. Camera use depends on the promoter's
decision for each event. Most ban cameras completely, others do not allow
flash photography. If the promoter does allow anything, then it is generally
that normal cameras may be tolerated,
taking pictures for personal use, but NOT digital cameras, professional
equipment of any kind, camcorders or sound recording equipment. Anything they don't like will be confiscated at the
door, so check with the box office if you are not sure. You could
well be searched and 'frisked' too. If they find concealed equipment by doing
this, your ticket will be cancelled. The whole risk is pointless anyway as, even
with a flash, pictures will often barely come out. Since a concert programme is
often the price of a disposable camera, monkey advice is to buy the programme.
Choice of bars, a 200 seat restaurant (open from 3 hours before the show -
bookable with your ticket) and takeaway snacks available throughout the
venue.
The restaurant overlooks the new entrance plaza and the fountains /
illuminations. It was also the original "hospitality" area for the performers
when the stage was at the other end...so you could be sitting where your
favourite star has sat. There is also a hospitality area behind the new stage
and packages are available to businesses. Beer fans will be interested to know
that all beer in the venue is carried by pipes (look for the black ones on some
of the concourse staircases) that keep the beer at 4 degrees for every glass!
The monkey suggested hooking these pipes to the fountain supply outside, but was
told that regrettably there would be "logistical issues" to that idea. Adequate toilets for Gentlemen and ladies. Some toilets can be reassigned for performances popular with
women. Check the door symbol before entry gentlemen!
A reader notes that:
"The extra toilets downstairs below the vendors are a bonus, although my
perception last night (4th April 2006) of the existing toilets were that they
seemed generally smaller than before. Certainly less urinal space and more
cubicles. The venue is now non-smoking. Gone are the mass fogs that used to make
the old bar/food areas along the side so unpleasant. The venue are also very
tight on this. When I was in the toilet last night, they pulled a guy out of the
cubicle who was smoking and escorted him out. Basically, the gents are now
situated only at either end of each corridor and all the loos in between have
been given over to ladies (plus one of each in the Atrium). This is on balance
(putting my male head to one side for a moment) the best use for them.
There a further one of each down the stairs and under the vendors. These are
badly (or not!) signposted so you could end up going down to be faced by a
woman's loo door. These because they are badly signposted are often the quietest
and worth looking out for. " Wembley say that they are working to improve
signage in this area, though another reader says,
"there do not seem to be enough Men's toilets whilst there are women's at every
turn. Great for women but last night (2nd January 2007) there were massive
queues at the few men's available." From the ladies' viewpoint, a comment was,
"The toilet wash facilities have been designed by a male! Strange sloping sinks,
and the distance to the tap means that we brush up against the shelf when
washing our hands!" Two cloakrooms for checking your coats in are
available at the front of the building. Not large enough for all 12,500
coats, but sufficient to meet demand so far, the venue say.
The monkey gratefully
thanks Mr Peter Tudor and everybody at Wembley Arena for their massive help in
compiling this information.
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