Register as an organizer
Click the button below and finish your organizer registration, or fill out the form and we will be in touch to assist you.
language
Getting ready for a festival or concert can feel like a juggling act, right? You've got artists with specific needs, gear to sort out, and a whole schedule to manage. The goal is to make sure everyone sounds and looks great without the last minute panic. This is where good Production Management comes in. It’s all about planning ahead, talking to the artists, and getting all the technical bits sorted before anyone even hits the stage. Let's break down how to do that.
So, you've booked some bands or performers for your event. That's great! But before the first note is played, there's this whole process called 'advancing' that happens behind the scenes. A big part of that is digging into the artist's technical rider. Think of it as their instruction manual for how they need things set up on stage to sound and look their best.
An artist's technical rider is basically a detailed list of everything they need from a production standpoint. This isn't about the green room snacks (that's the hospitality rider); it's all about the sound, lights, and stage setup. It usually includes things like:
It's really important to read every single item on this document. Sometimes, artists put in little details, almost like tests, to see if the production team has actually read the rider thoroughly. Missing something small could lead to a big problem later.
This is where you really need to pay attention. While some requests are pretty standard, others can be quite specific. For example, a guitarist might ask for a very particular vintage amplifier model, or a keyboardist might need a specific type of digital piano. You might see requests for things like:
If an artist requests something you don't have, you'll need to figure out how to get it. This usually means renting it from a local company. The earlier you can sort out these rentals, the better, as it gives you more time to find the best price and make sure the gear is available. It’s always a good idea to have a backup plan for critical gear, too. You never know when something might break, and having a spare can save a performance. You can find resources for gear rentals through event production services.
Sometimes, riders aren't perfectly clear. You might come across an acronym you don't recognize, a model number that's hard to find, or a request that just doesn't make sense in your venue's context. When this happens, don't guess. The best approach is to reach out to the artist's production manager or tour manager for clarification. It's always better to ask questions upfront than to make assumptions that could lead to mistakes on show day.
It’s better to ask questions in advance than to guess and get it wrong. Keep a running list or spreadsheet of requirements for each artist so you can track which needs are covered and which require action.
Starting this communication early is key. Once you've reviewed the rider, get in touch with the artist's team. Confirm you've received their rider, ask any initial questions you have, and start discussing what the festival can provide and what might need to be arranged. This dialogue helps set expectations and prevents surprises down the road.
Getting the right gear sorted out ahead of time is a big part of making sure a show runs smoothly. It’s all about being prepared and not waiting until the last minute to figure things out.
Once you’ve got the artist riders, the first thing you’ll do is compare what they need with what you already have. If there’s a mismatch, that’s where the rental process kicks in. Think about a band that needs a very specific vintage amplifier or a particular model of keyboard. If your festival doesn’t own that item, you’ll need to find a rental company. The earlier you start this, the better your chances of getting exactly what’s needed and maybe even finding a better price. It also gives you time to sort out delivery and setup logistics. For example, if a touring act requires a specific type of drum kit, you’ll want to secure that rental well in advance. This is also a good time to look into renting stage equipment to save money.
All those rental requests add up. It’s important to have a clear budget for this. Sometimes, you might find that the cost of renting everything an artist wants is more than you expected. In these cases, it’s worth talking to the artist’s team early. You could ask if they’d be open to using a similar, more available piece of gear to cut costs. However, be mindful of major acts; if it’s in their contract, you’ll need to meet their exact requirements unless they agree to a change.
Live events are unpredictable. Gear can break, wires can get crossed, and things just don’t work as planned sometimes. That’s why having backups is smart. If an artist is relying on a specific piece of equipment that you provide, like a guitar amp or a drum pedal, it’s a good idea to have a spare on hand. This doesn’t mean you need a backup for absolutely everything, but for critical items, it can save the day. Imagine a keyboard player’s sustain pedal failing mid-song; if you have a spare ready to go, the performance can continue with minimal interruption. It’s about anticipating potential problems and having a plan B.
Getting the stage setup right is a big deal, and honestly, it can make or break a show. It’s all about making sure the band has the space and gear they need to perform their best, without any last-minute scrambling.
So, the first thing you’ll get is usually a stage plot from the artist. This is basically their blueprint for how they want to set up on stage. It shows where everything goes – drums, amps, mics, keyboards, you name it. Your job is to take that plot and compare it to the actual stage you have. Sometimes, a band’s setup is just bigger than your stage, or maybe the shape is awkward. If their plot says they need a 20x30 foot space and your stage is only 18x25, you’ve got a problem. You need to tell them early, like, “Hey, our stage is a bit tighter than your drawing, but we’ll make it work by shifting things around a bit.” It’s way better to have that conversation upfront than to surprise them when they roll up.
Lots of artists ask for risers, especially drummers and keyboard players. These are just platforms to get them up a bit higher. You need to figure out if you have them, or if you need to rent them. If you have multiple bands playing back-to-back, and they both want a drum riser, you might be able to use the same one and just swap out the drum kit. Or, if changeovers are super quick, you might need two. Planning ahead means you can figure out if you need rolling risers, which are basically platforms on wheels, to make swapping gear between sets much faster. It’s a small detail, but it really helps keep things moving.
At festivals, it’s pretty common to have what’s called “house backline.” This is gear like drum kits, bass amps, and guitar amps that the festival provides for the bands. It really speeds up changeovers because bands don’t have to bring their own heavy equipment. During the advance, you have to ask each band if they’re okay using the house gear or if they absolutely need their own. Smaller bands are usually happy with good quality house gear. Bigger acts, or those with specific endorsements, might insist on their own stuff. If they are bringing their own, you need to factor that into the schedule because they’ll need time to load it on and off the stage. We once had three bands in a row agree to use the same drum kit. Because we sorted that out beforehand, the stage crew saved a ton of time between sets, and each band still got the sound they wanted after a quick check.
Marking out where everything goes on stage with tape before the band arrives can save a lot of confusion. It means the crew already knows where the drum kit, amps, and mic stands should be, making the setup process much smoother and faster. This attention to detail during the advance process really pays off on show day.
It’s also important to be upfront about what gear you have. If your festival provides a good sound system and standard backline, let the artists know. Sending out a tech pack with details about the stage, sound system, and lighting rig is a good move. It shows you’re organized and helps artists figure out if they need to request anything different. If you can’t meet a specific request, like a particular guitar amp, suggest a good alternative and explain why it’s comparable. For example, if a band wants a huge lighting fixture your rig can’t handle, work with their lighting designer to find a creative solution using what you have. Getting these agreements in writing, even just via email, makes sure everyone is on the same page and gives the artist peace of mind. It’s all about clear communication and planning to make sure the stage setup is perfect.
This part of advancing is all about making sure the artists have the juice they need to power their gear and that the stage itself can handle whatever they throw at it. It’s not just about plugging things in; it’s about making sure the lights stay on, the amps hum, and nothing goes kaboom.
First things first, you gotta look at what each artist needs power-wise. Some bands bring a ton of gear that draws a lot of electricity, like big amp racks or special lighting bits. You need to check if your stage power setup can handle all of it, plus everything else the festival needs. If an artist asks for, say, two dedicated 20-amp circuits on the right side of the stage, you have to make sure your electricians or power provider can actually set that up. For outdoor events running on generators, double-check that you’ve got enough generator power and fuel. Power problems can literally stop a show dead in its tracks – planning ahead stops overloads and blackouts.
Sometimes artists have unique power needs that go beyond standard outlets. This could be anything from specific voltage requirements to requests for isolated power to reduce noise. It’s important to clarify these details early. For example, a touring sound engineer might request clean, isolated power for sensitive audio equipment to prevent hum or interference. You’ll need to work with your electrical team to see if this is feasible and what it might entail, like running a dedicated line from the main power source or using a specific type of power conditioner.
It’s always better to ask for clarification on power needs than to assume. A simple request for "ample power" can mean very different things to different people. Get specific numbers and circuit requirements whenever possible.
Some technical requests can have safety implications. Think about things like pyrotechnics, special effects, or even requests to disable certain safety features on audio equipment. You need to work with your safety officers and sound engineers to review these requests. Some things might not be allowed by law or your insurance policy, like exceeding noise limits or using certain types of effects. It’s important to communicate clearly what the festival’s rules and limitations are. This ensures that everyone is on the same page and that the event runs safely and legally.
Getting the logistics sorted out before the big day is a game changer for production. It’s all about making sure everyone knows where to be, when to be there, and what to expect. This really cuts down on the last-minute panic.
This is where you tell artists when their gear can arrive and when they'll actually be on stage. For a festival with a packed schedule, you need to give them a specific window. Think something like, "Band X, please arrive at Stage 3 between 1:00 PM and 2:00 PM for your 4:00 PM set." This gives your stage crew time to help them unload and get set up. If you have a few bands playing on the same stage one after another, you'll want to stagger those load-in times. And if a band shows up early or late, having a direct contact, like a stage manager's phone number, makes it way easier to handle.
Festival sets often have really short breaks between bands. During the advance process, you should talk with each artist's team about how these quick transitions will work. If one band finishes at 6:00 PM and the next starts at 6:30 PM, that 30 minutes is super important. If the next band has a lot of equipment, you might look into setting up some of their gear off to the side before their set even starts, or using rolling platforms so one drum kit can be quickly swapped for another. Let them know how many stagehands will be there to help and if there are any special areas backstage where they can get their gear ready beforehand.
As part of the advance work, give the artists a list of the main people they can talk to on site. Usually, they should know who the stage manager or production manager is for their specific stage. That person should also have the contact info for the artist's crew. This way, if something unexpected comes up on show day, maybe they need an extra mic stand or the schedule needs a slight adjustment – the communication is direct and fast. Clear communication channels are the backbone of a smooth event.
It’s really about setting realistic expectations. When artists and their teams know what to anticipate, from when their gear can be unloaded to who to ask for help, it makes the whole festival day feel much more organized. It turns what could be a chaotic scramble into something that runs like a well-rehearsed play
Putting on a festival is a whole different ballgame than a single gig. You're juggling multiple artists, often across several stages, and the timeline is usually way tighter. The way you handle the technical side of things needs to scale up, but the basic idea of being prepared stays the same.
For smaller festivals, like a local community gathering or a single-stage event, you're probably working with a lean crew. Maybe it's just you, the production manager, trying to keep everything straight. This means thorough advancing is even more important because there's not much room for error. You might be coordinating with bands to share gear, like a house drum kit or amps, and you need to be upfront about what resources you have. Don't assume smaller acts don't have specific needs; even a quiet folk duo might really need two DI boxes for their guitars, and if you don't have them, that's a problem.
For these smaller events, think of yourself as a facilitator. Your job is to make sure the artists have what they absolutely need to perform their best, even if it means getting creative with what's available.
Big festivals are a different beast. You'll likely have dedicated teams for audio, lighting, and stage management, and the advancing process can involve many people. Often, there's an online system where artists submit their riders and input lists. You might have daily meetings with stage managers to go over the next day's requirements. Communication within your own festival team is just as vital as it is with the artists, everyone backstage needs the latest info on who needs what.
While big festivals usually have more gear and backup options on-site, the challenge is managing it all for dozens of acts. A good move is to hold a production advance meeting a day before the festival kicks off. Get all the stage managers and department heads together for a quick run-through of each act's key needs. This helps catch anything that might get missed when you're dealing with so many performers.
Here’s a quick look at how needs might differ:
No matter how big or small your festival is, the goal is the same: make sure every artist feels like the event was ready for them. Scaling up or down just means changing how you manage your resources and talk to people, but the careful work of advancing stays constant. It’s about making sure that when an artist walks on stage, they aren’t surprised by anything technical. This proactive approach means the focus stays on the music and the performance, not on fixing problems that could have been avoided. Ultimately, good advancing makes the festival day run smoothly, turning potential chaos into a well-organized show.
Every festival producer has a mental rolodex of shows that went off without a hitch and those that were, well, a bit of a mess. These aren't just war stories; they're actual lessons that can save you a ton of headaches down the line. Think of it as free consulting from your own past self.
When something works, you gotta figure out why. Was it that extra hour you spent confirming power distro? Or maybe the detailed stage plot that perfectly matched the venue’s footprint? Identifying these wins is key. For instance, a festival I worked on last year had a surprise acoustic set from a pretty big name. Their rider was super specific about needing a particular type of mic stand that telescopes for seated performances. We caught that detail way in advance, sourced the right stand, and the artist was totally comfortable. They even gave a shout-out to the crew for being so on top of things. That kind of positive feedback? It’s priceless for reputation and makes the next advance easier because artists know you’re serious about the details.
Now, for the stuff that didn't go so well. We all have those moments. I remember a festival where a band brought their own power converters, assuming we’d have standard European outlets on stage. Turns out, we only had US plugs. Cue a mad scramble minutes before they were supposed to play, trying to find the right adapters. It caused a delay, and the vibe backstage was pretty tense. After that, we added a mandatory checklist item: "Confirm power connector types and voltage requirements for all international acts." It’s a simple fix, but it came from a stressful experience. You learn more from the screw ups, honestly, if you let yourself.
It’s easy to get caught up in the excitement of a big event, but sometimes the most valuable insights come from the moments where things almost fell apart. Documenting these near misses and understanding the root cause is how you build a truly robust production plan.
Don't keep these lessons to yourself. Talk to your team, share notes with other producers, or even jot down a quick summary after each event. What worked for a rock band might be adaptable for an electronic act, or vice versa. Understanding how different genres have different needs is also huge. A metal festival needs to think about loud stage monitoring and robust drum kits, while an EDM event might focus on specific DJ gear and massive sound systems. If your festival has a mix of genres, you’re essentially running multiple advance processes at once. Being prepared for that variety is the goal. It doesn't matter if you're prepping for 200 people or 200,000; the diligence in the advance process should be the same. It’s about making every artist feel like they’re the main event, no matter the scale.
So, getting all the details sorted with artists before the festival even kicks off isn't just busywork, it's the secret sauce. When you take the time to really read those riders, talk things through with the artist's team, and figure out the gear, the power, and the schedule, you're basically building a roadmap to avoid those stressful last-minute scrambles. It means the artists can focus on their performance, the crew knows what's happening, and the audience gets to enjoy a great show. Remember, a little bit of planning goes a really long way in making sure everyone, from the band to the fans, has a good time.
A technical rider is like a band's special instructions for a show. It tells the festival exactly what sound gear, lights, instruments, and power they need to perform their best. It's basically their wish list to make sure everything works perfectly on stage.
It's super important to read the rider carefully, like really closely! Look at everything about sound, lights, and any special gear. If something isn't clear, like a weird piece of equipment or a confusing term, you should ask the artist's team about it right away. It's better to ask than to guess wrong.
You need to figure out what gear the festival already has and what you need to get from somewhere else, like renting it. Do this way before the show! Also, think about having backup gear for important things, just in case something breaks. It's like having a spare tire for your car.
Yes, you absolutely need to think about power! Make sure there's enough electricity for all the artist's gear. Some equipment needs a lot of power or special hookups. You also need to check if everything is safe and follows the rules, especially for things like lights or sound systems.
Planning the stage setup means making sure the band's gear fits on the stage and is arranged how they want it. You also need to talk about when bands load in their stuff and how quickly they can set up and tear down between sets. Having clear times and knowing who to talk to on the day of the show makes everything run much smoother.
For smaller festivals, you might have a smaller team and less gear, so you have to be extra careful with planning. For big festivals, you have more resources but need to coordinate with lots of different people and acts. The main idea is the same: talk to everyone early and make sure you know what each artist needs, no matter how big or small the festival is.
More blogs
Click the button below and finish your organizer registration, or fill out the form and we will be in touch to assist you.