Insurance you know, advocacy worth having.
Most creative businesses run risks they cannot see, and some of them are created by insurance itself. That’s why we created the insurance manager, for creative industries. We have fought some of the hardest claims imaginable, and put that expertise in your pocket from the day you buy your cover, to the day you make a claim.
You bought a promise,
you were handed a stack of paper.
In most businesses insurance is nobody’s actual job. It gets renewed, filed and paid, and no one looks until something goes wrong.
More than once I have watched a business-interruption limit quietly trimmed to make a renewal look cheaper, and no one notices until they go to claim and the money is not there.
The great trick of business insurance is convincing a busy person that the invoice is the product.
It is not. The product is the promise performing on the day you claim. And for a promise to perform, someone has to understand it.
Someone capable usually carries it anyway, on top of the job they were hired to do. The seat whose only job is your insurance, on your side of the table, sits empty.
We fill it.
Who We Work With
Four worlds. Total focus.
We work exclusively with creative organisations. That focus shapes everything: how we listen, what we look for, and what we recommend.
Liminal
Immersive & Experiential
Work that invents its own category, and needs insurance that can keep up.
Immersive theatre, experiential design, site-specific installations, interactive exhibitions, mixed-reality experiences. The audience isn’t watching, they’re inside the work. That changes everything about the risk.
Live
Theatre, Music & Events
If there’s an audience in the room, the stakes are different.
Theatres, West End and touring productions, concert promoters, sports venues, comedy, dance, opera, outdoor events, and the entire chain of suppliers, creatives, and technicians behind them.
Fine
Art, Collections & Heritage
Irreplaceable things in vulnerable places. The insurance has to hold.
Galleries, museums, private collections, public art commissions, conservation, art fairs, sculpture parks, and the logistics of moving, installing, and protecting work that can’t be remade.
Fringe
Festivals & Emerging Work
Big ambitions, tight margins, and risk so familiar it becomes invisible.
Edinburgh Fringe to Burning Man, pop-up spaces, artist-led initiatives, community festivals. Artists grow up taking enormous financial risk, so used to it they stop seeing it. We want to help, whatever the budget.
How We Work
The thread out of the maze.
Big companies have an insurance manager on staff. We do that job, part-time, for creative businesses that do not, at zero extra cost. It comes out of the money you already pay for insurance.
Talk to us before you even talk to a broker.
New to the idea? Read: What is a fractional insurance manager
Step 1
We look at what you have got.
Risk advisory
A read of your current cover, benchmarked against the market, and a policy register you keep either way.
Book a free desktop reviewStep 2
We bring you the market.
Insurance, via regulated third parties
A funded compare-the-market survey, one eye on the whole market, and we introduce you to the brokers who fit your world.
Talk to us about going to marketStep 3
We stay by your side.
The active insurance manager
The differentiator. Quarterly reviews, embedded not transactional, and when something goes wrong, fifteen years of claims experience on your side of the table.
Tell us what happened
Risk isn’t a problem to solve. It is the engine of creativity. Our task is not avoidance, but shaping risk so you can create with confidence.
Every ambitious project carries risk. Our job is to help you take those risks with clarity, structure, and the right support behind you. That’s what alignment and service looks like: building something that genuinely serves this industry and its values.
Geoff Fazan
Founder, Fazan & Co
About
Two forms of experience.
A single point of view.
I never really left the creative industries. I stepped sideways, learned another language, and came back.
I started in sculpture, then spent years doing the other work that makes creative projects happen: installations for Artangel, building management at Siobhan Davies Dance, technical production in immersive theatre at the Old Vic Tunnels. Running cables. Managing builds. Solving problems in spaces that were never designed for any of it.
Then there was a small fire in a venue. Not a disaster, but a sliding doors moment. Enough to reveal how thin the line was between atmosphere and liability. Between magic and exposure. That led me into insurance, and eventually back to the creative industries, as a translator between two worlds that don’t speak each other’s language.
I came in through complex claims: nearly fifteen years of them, across six continents and every major class of insurance. Liability disputes, business interruption, multi-party losses. That work teaches you how insurance, and the people it touches, actually behave when tested. When you’ve seen where wordings collapse, you stop seeing insurance as a transaction. You start seeing it as something that has to hold.
Then people from the creative industries started calling. Producers, creative directors, venue managers who needed someone who understood both languages. In 2024, that became Fazan & Co.
0years
managing complex claims for insurers, reinsurers, and policyholders
0continents
losses managed, jurisdictions navigated, courts attended
0Head of Claims
at managing agent and international carrier level
Rhinos. West End shows. Tiger kidnappings. Ships that sank, planes that crashed. My work brought me into contact with three of the four horsemen, though thankfully not famine. When something unusual happens in your world, chances are we’ve seen something like it before.
Why Claims Matter
We’ve been in the room
when it counts.
Most people in insurance have never managed a serious claim. We have: hundreds of them, over more than a decade. Seven-figure losses where the outcome can be existential. That experience changes how you think about placements, wordings, what a programme is actually designed to do.
When something goes wrong, you want someone who has seen it before, knows the tempo of it, and won’t panic.
As a product, insurance is thin. As a service, done properly, informed by experience, it’s permission to act.
Contact
One conversation. That’s where it starts.
No pitch. No pressure. Most people call before they know exactly what they need. That’s how the best conversations start.
“It’s by far the best process for insurance that I’ve gone through. I feel like we really know what we have, why and how it all works.”
Eyal Danon · Operations Director, Clockwork Dog
The Bridge
The invisible infrastructure of the creative industries.
Everyone sees the bridge. Nobody sees it holding. This is a publication about the structures underneath, the cover, the contracts, the money, the people, written from your side of the crossing.
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