THINGS TO KNOW WHEN TOURING AS A SUPPORT ACT

The opening slot on a tour, which could be the first band performing that night (first of three), or the direct support, is typically a great opportunity for an artist. The exposure to a large group of potential new fans can be very beneficial. But it’s not easy to win over new fans who aren’t necessarily there to see you, so everyone needs to be at their best. It can be very exciting, but there is a lot at stake, and this opportunity carries some weight.

And the significance doesn’t just affect the musicians in these situations. We, the artist’s tour crew, are often working in venues and on stages much larger than we’re accustomed to, which requires us to adapt quickly. And as a tour manager (TM) and/ or production manager (PM), we must do everything in our power to ensure success for both the artist and crew.

Getting the chance to work alongside touring professionals that you read about in the industry trade magazines can be an excellent opportunity to learn and network. If you perform well, it could open the door to new opportunities. But to make a good impression, you need to be prepared and conduct business in a way that shines a positive light on all that you do. So, let's jump in and discuss how to thrive on a tour when you’re an opener.

PREPARING FOR TOUR

As with any tour, success relies on preparation, and rehearsals offer the crew a chance to prepare while the band practices their performance. You want to be well-versed in the equipment you're providing and how you'll integrate your production into the tour's setup. To start, let's discuss where to focus your attention when preparing for the tour, so that on day one, you're calmly executing a plan rather than frantically figuring things out. 

Efficiency is crucial in touring, perhaps even more so as the opener. Every second counts, and you must make everything as quick and efficient as possible. Plan as though you’ll never have time to do things the way you’d prefer, because most days you’ll have very little time to set up and line check. And this will often happen after doors open, and you'll line-check using headphones and in-ears while the audience files in and finds their seats. Over time, the likelihood that you’ll actually have time to set up and sound-check will increase, but it is never guaranteed and may never happen.

Things to plan for and consider:

·      Communication is crucial. Make sure you update your tour crew as you receive information, keeping everyone in the loop. 

·      Prepare all your production elements to be as self-contained as possible, and ensure you don't need to borrow anything from anyone at any time.

·      Label everything very clearly to ensure a quick, efficient setup. Chances are you'll be setting up on a dark stage, so color-code using labels that are visible in the dark (and bring a headlamp).

·      Learn what power disconnects the tour is offering, and bring the necessary cabling to plug into their distro.

·      Ensure a small footprint at every location: monitors, front-of-house audio, lighting console, and off-stage tech worlds. Some days you’ll have more than enough space, other days you’ll be very limited. Plan and prepare for the worst.

·      Ask how big the stage will be and how much of that stage you’ll have access to (these are often very different numbers). With this knowledge, you can determine cable lengths.

·      Always bring extras and cable extensions, because there will be non-standard days where your plan isn’t sufficient.

·      Discuss RF coordination with the audio team. They may ask you to operate your wireless equipment within a specific frequency range.

·      Front of House audio should carry drive lines (typically an AES XLR loom), allowing you to send digital (primary) and analog (backup) signals from your console to the tour’s processing. Don’t expect their cabling to reach your console.

·      You should also have power extensions for everything so you can get power from whatever location they’re offering it. Here again, don’t expect their cabling to reach you.

·      If necessary, make sure there is a plan to get time code from the stage to the lighting console and to the video department. It is common to send this signal to front of house via the audio console, and the audio engineer will run a line to lighting.

·      Ask the tour what portion of the lighting rig your artist will have access to and let your LD know. And with that information, ensure that the LD prepares by having their show patched and cloned, especially if you aren’t bringing your own desk.

·      Ensure that the tour is aware of your lighting situation. What console you’ll have (if you’re carrying your own). And if you’re bringing in a lighting floor package, make sure to get this cleared well in advance. Not just with the agent, manager, or even the production manager. Speak with and connect your LD with the tour’s LD or lighting crew chief to ensure everyone is clear on exactly how you’ll integrate into their system, networking, etc.

·      Don't expect much time on the lighting rig; plan for a throw-and-go.

Essentially, the headlining crew is responsible for determining how to integrate your audio and lighting package into theirs. And they are more than happy to do so, assuming it’s not an hour before doors. On the other hand, if you roll in with a complex situation that they’re just learning about for the first time, you’ve dug yourself a hole that you may never get out of. Planning ahead allows everyone to do their job and think things through in a low-stress, relaxed environment.

WHEN YOU GET ON TOUR

Once you get on tour, you’re able to implement the plans laid during rehearsals. But there are a handful of things to be mindful of, especially early on when everyone is getting familiar with the day-to-day flow.

On day one, the tour and production managers must learn who their direct reports are. Depending on your role, this could be the headlining artist’s TM or PM. If you’re PM for your band, you’ll likely report to the headlining artist’s stage manager. This person will give you permission to load in, confirm where your gear will live backstage, and let you know when you have access to the stage to set up.

The first thing you should do each day is make your presence known, and then wait. Remain on standby, preferably close by, so they can find you when they're ready. Remember that things are constantly changing. Sometimes they might tell you it will be an hour, then call on you five minutes later. Other times it will be the opposite. Don’t get antsy and check in a lot; they know you're there and ready to work. Just be prepared to move when they call.

There are some things you can do to prepare while you’re waiting:

·      Walk the load in path to figure out where your gear will enter the loading dock area, which will help you determine the most efficient route and catch any potential red flags.

·      Scout the backstage space to get an idea of where your equipment might go. Find a location with enough space for you to set up without being in the way. More often than not, this will be on the loading dock. Once the headliner's trucks are empty, they won’t need this space again until after their show. So, you can work there without getting in anyone’s way. And you can utilize the empty trailers to store dead cases.

As time goes on, you’ll learn ways to be more self-sufficient, and what you’re able to do without asking for permission. But until then, don’t make moves without asking.

·      Ask the tour's stage manager for stagehands to help you. You may see stagehands sitting around waiting for direction, but the stage manager might have a plan for them.

·      Wait for permission before you move gear or begin to set up, especially in venues with a strict labor union.

*If you do any work on your own in a venue that requires local labor to help with everything, you’ll upset the local union, and they’ll go straight to the tour with their complaint. This means you’ve upset the tour, and that can make your life difficult

Once your artist has finished their performance that day:

·      Pack up your equipment right away and load out as quickly as possible. You need to clear the loading dock and free up the stagehands as soon as you can.

·      Make sure your tour vehicles will not impede the headlining team in any way. Load out is a well-calculated series of equipment and truck movements, and you never want to derail the tour’s load out for any reason.

OTHER THINGS TO KEEP IN MIND

Once the tour is up and running and you begin to settle in, keep these things in mind:

·      Don't use the tour's laundry machines or their tour gym equipment. That is for the headliners only.

·      After you've finished your work, stay out of the way. Actually, always stay out of the way.

·      Don't use the off-stage right and left areas to walk between backstage and the public areas. Leave this space for show personnel.

·      Do not congregate near the other band’s green rooms.

·      If the headlining band is coming down the hall or making their way through the venue, step aside or use another route. Even if they're nice people, there are security protocols to follow.

·      Don't lose your laminate. And under no circumstances should you post or otherwise share any pictures of it!

·      If you want to watch the show, find somewhere out of the way where you won’t bother the audience or the tour production crew.

IN SUMMARY

Of course, every crew and every tour is different, and your experience will vary from one to the next. But as support, the rules are generally the same, and it’s important to remember this:

·      You aren’t entitled to anything.

·      Regardless of how big or well-known the support act is, the headliner's team is responsible for the tour, and you must take their lead.

Everyone on tour is busy with a heavy workload, but they want to see you win. If you’re polite and respectful, you’ll remain in the good graces of the tour crew, and they’ll help and take care of you any way they can.

Safe travels and happy touring.