No one likes surprises! Especially not in our business. This is why we have production managers. Bands have production managers; tours have production managers; promoters have production managers; and venues have production managers, and these various production managers are expected to speak to one another to guarantee that each incoming act has what they require to stage their show or event. Not only is the production manager responsible for ensuring a smoothly run event, but they are also responsible for adhering to a budget. To avoid surprises, major tours usually carry everything they need for their shows and typically these tours require a tour manager as well as the production manager. Tour managers are often in charge of the trucking, busing, band transportation, hospitality, overall budget and the general maintenance of the tour itself. The production manager is responsible for the lights, sound, band gear, technical budgets and the timing of soundchecks and shows.
In certain cases, the lines get blurred between the tour manager and production manager’s duties. This is especially true if the tour is not one of the aforementioned major tours. Smaller tours, one-offs and opening acts often don’t have the monetary means to afford the two separate jobs and the tour/production management falls on one person. To be clear; both positions are full-time jobs that require one to advance the next few shows while managing the current event; and it can be stressful — to say the least. Add to this the duty of audio engineer, and one’s head is bound to explode, but as often is the case, while touring in the capacity of audio engineer with popular jazz and R&B acts, it falls on the audio engineer to advance the show as well as mix the performance. From there, it’s a small step into the shoes of tour manager as well. Being young and naïve, I jumped at the chance when these opportunities were offered to me. I have always enjoyed a challenge, and back in the days of my youthful exuberance, I was willing to take on anything I could — especially for a boost in pay.
There are always surprises on tour, and when wearing two or three hats, one surprise is two too many. One day in Nuremberg, Germany, I arrived at the venue to get prepared for my soundcheck only to be surprised that the audio and lighting systems were not set up and ready to ring out. I had advanced the soundcheck for 1 p.m., and I assumed that the language barrier may have created a misunderstanding. This was before cell phones were in use, so I had to find a phone and contact the four band members and my employer (the star of the show) and told them not to show up at the venue until further notice.
Note: There is a bit of babysitting required by a tour manager so that the band or entertainer can stay relaxed for their show. While doing my due diligence as tour manager and arranging to get the band to the venue, I expected the local production team to set up the gear. Much to my surprise, they didn’t do anything and claimed they needed me to tell them where everything was intended to go. It was a grueling exercise, but I had learned that getting angry at a local crew in a foreign country does not yield good results. For example: The one person who is conversing in English and is acting as liaison between me and the rest of the crew could now suddenly only speak in their native tongue. Of course, I am not casting aspersions on any particular country or local crew, considering that I have seen this type of behavior from union crews in the U.S. as well, but I’m just pointing out one of the many surprises I encountered while assuming multiple production duties.
Mixed Marriages
Suffice it to say that trying to tour as an audio tech and tour manager can be a less-than-rewarding way to earn a living. While a production manager and tour manager may have similar skills, the marriage of production manager and audio engineer is a better match than audio engineer/tour manager. Regardless of the managerial hat one wears, the main concern of either is to mitigate any issues that might arise. There are many moving parts to any production, and while the production managers are accountable for the technical aspects of a show, they are also responsible for the crew they hire. Whether it’s a large gig or a small event, the idea is to leave nothing to chance. This requires asking many questions, and while doing large events is always impressive, typically the smaller shows are more difficult to advance.
In another situation, as a production coordinator for a promoter, venue or audio company, it is important to ask questions. I have stated this before, but there is a need to think ahead and try to allay any foreseeable issues that could surprise not only you, but the crew you sent to do the job. Of course, this means that one needs to ask all the correct questions; and unfortunately, a good question doesn’t always translate into the correct question. I recall a time when I was asked to do a tented event in New York on Eastern Long Island. Doing events in a tent, on a huge lawn three or more hours away from any tangible lifeline can be more challenging in certain ways than doing a large show at a theater. Be aware that these clients don’t always provide correct answers because they are often unaware of what it is they are hiring or the scope of work they are asking. Needless to say, I asked all the typically correct questions. Is there power? Can we back our truck up to the tent? Is there access to the tent for our truck? If not, do we have to push the gear over grass, gravel or dirt? If so, how far? Will there be light for the load-out?
Surprise, Surprise…
As it turned out, we were required to park in the driveway and push 100 feet or so over grass. I asked if it was a flat push or was it on a hill. The reply was “Straight in from the driveway.” I brought the proper amount of labor and the correct amount of plywood to make a pathway for the gear. However, on arrival what surprised my crew was a foot-high mound of dirt that separated the grass from the driveway. I was informed of the situation, and I called my client. When I let him know that a foot-high mound was not “straight-in” he replied, “Oh, well… after that it’s straight in.” I grill these clients so we can stay on schedule and make sure all issues might be irradicated beforehand; at the same time, I do this also to protect my crew from surprises such as this. Well, surprise, surprise, as diligent as I thought I was being, I obviously didn’t ask the correct question.
Contact Baker Lee at blee@fohonline.com.
