FEATURE: The Band And The Helping Hands

 We all know the outstandingly staged shows of international superstars who seemingly effortlessly enter the biggest stages in the world and every tonal and show-technical aspect works like a charm. Even artistic high-wire actions, coupled with pyrotechnics up to the point of being waved off on several stages, don't seem to be a problem at all in this league, while you yourself sometimes reel with bliss when the guitar transmitter reaches further than 10 meters and you can hear yourself well throughout the show. Only rarely do superstars have to bow to technical problems, such as: B. Maria Carey's disastrous demolition on New Year's Eve 2016 in Times Square, where, according to her, the inear system did not function properly. One wonders how artists like Tina Turner were able to hit a single note in their early days when they played without any monitors, but that's another story. Rather, today it's about the helping hands of a band, without whom, depending on the constellation, things wouldn't be able to go anywhere as well as you would like, especially in the early days.

Helping hands, payment or friendship service?

In my opinion, one should first differentiate between two types of helping hands, the professional ones, i.e. the people who you hire to do work for a fee, and those people who, for whatever reason, do the work for you, without or only in homeopathic doses to be rewarded.

With the professionals it is a comparatively easy matter. Assuming you find a suitable crew member, you agree on an appropriate salary and enter into a simple contractual relationship. The employer, the band/management/artist/sponsor, has the right to have the work done properly, and in return the employee has the right to receive proper remuneration. If the constellation is economically successful, this area can be processed quickly with appropriate budget planning, provided that one does not experience the after-effects of the catastrophic Corona crisis, in which the majority of professional crew members have said goodbye to the profession and most of them have not returned to this day . So far, so clear.

Much more interesting, however, are the constellations that arise from the extensive gray area of helping hands, in which friends, family members, buddies, students or personal life companions take on a role that is not remunerated with a corresponding contribution. be it because in this case you would be paying into your personal family budget, the semi-skilled crew member doesn't want any money but just wants to be there, or because it is a "no-budget" activity and you simply have no option to reward the helping hand for their work.

There is also a very special sub-species of “Helping Hands”, although they don’t really fit into this article. A very valued colleague of mine is a sub for one of the currently most successful German bands in the heavy segment and plays this show without any payment, simply because he thinks it's great to play in front of several thousand cheering spectators. Travel costs etc. are of course covered, but he is financially secure as the owner of a company, so he only plays these shows for “fun”. A dream for every employer! Imagine once again my bricklayer, who has often tried hard, who is economically independent as a successful investment banker, but has found his love in the craft and builds walls for free for the most successful architects.

Claim and reality

There is a saying in the business: “If you pay peanuts, you get monkeys!”. Regarding this article, you should always keep one thing in mind in advance. In principle, you can't have enough helping hands, as long as they do a job that you can or have already done outside of the music business. The best example of this would be a driver who takes the band from A to B. Anyone who is able to move a van at a time when the majority of the population is already asleep and, most importantly, manages to stay sober until after the show is a real help. On the other hand, if you feel like you are part of the band with the corresponding after-show party, you are putting yourself and the band in mortal danger! I know people who offer this service as a gateway to show business in order to secure a place in the tour entourage with a real party feeling. All I can say is, stay away! The transport of equipment and artists only belongs in very responsible hands, which can come from a responsible buddy.

What work can Helping Hands do?

For the sake of simplicity, let's start with the work that can under no circumstances be taken on by friends etc. I think it goes without saying that everything that involves appropriate technology belongs exclusively in professional hands. P.A., lighting and backline must be managed by appropriate professionals, or you will no longer be happy on the stage of your life. I know colleagues who also teach and would like to take their students with them as backliners. What can work with just a few competent people leads to complete failure in the majority of cases. Not that the youngsters can't wire a backline, but communication with the local P.A. Distributors usually follow a certain order with the corresponding technical terminology and as an instrumentalist you always have to check the work again in the end. At a small club gig you can still learn the Padova in peace, but at a festival where the renovation breaks are timed to the minute, something like that is absolutely not possible.

But what about “carrying aids” or stagehands? You can't go wrong here, can you? That's exactly how it is, you can't do much wrong, but here too you can do something wrong. If you store your equipment incorrectly, you can get in the way of a lot of things, especially at festivals, which the following bands/crew people find anything but pleasant. Normally, the stage manager assigns you the appropriate corner of the stage for preparation. If you don't stick to it strictly and don't know how to handle your stuff properly, you'll get pressure. Speaking of carrying aids, nowhere has so much been stolen as in the area of stagehands. Once you have managed to get a corresponding ribbon on your hand, no one will stop you, unless it is the owner or the backliner of the instrument. So be careful who you trust with your instrument.

Of course, something that is always popular, especially in the hands of female friends, is the area of merchandise. Apart from the fact that appropriate financial management and storage at the stand make life easier, there is nothing to be said against this practice. However, you should definitely have a credit card terminal with an appropriate connection, as fewer and fewer people are paying with cash. What, on the other hand, is slowly but steadily increasing is payment with Bitcoin via the Lightning network. Anyone who offers this payment option is at the forefront when it comes to trends. Speaking of cash, the days when the tax office didn't have sales income from small bands on their radar are long gone. In order to avoid stress in any form, I strongly recommend reporting the numbers once a certain turnover has been reached. Nobody wants to have the stress of tax evasion and back payments.

If you have a sociable and hard-working partner, you can definitely think about working as a personal manager. You don't have to limit your work to the front man / woman, but can also be seen as a multi-tool for the entire band. Anyone who thinks that the musicians themselves can take care of things like drinks on stage, towels on stage and cloakroom, where and when catering, access management, parking, arrival and departure and much more is of course not wrong, but they think so Always remember that anything that distracts the artist from his actual (!) function during a show is to the detriment of the show.

If you want to expand the whole thing to include finances and billing, you can of course also take care of tour management, but then you need a self-confident and energetic demeanor, as you have to represent the band's interests in many ways, which is not always possible with the local promoter conforms to its employees. In most cases, however, you can talk to the promoter easily and find a way, but if you knowingly ignore the contractual points and want to take the artist for a fool, you may also need to be made aware of your obligations. If you have a full hut on your list of arguments, you have a very good chance that the promoter will remember his obligations again.

Finally, I would like to say that in principle, especially in the early days, you cannot have enough motivated helpers who first work and then ask for whatever kind of remuneration. But one thing you should always remember is that no matter who travels with the band, they are directly or indirectly representing the band. A drunk helper who can no longer control himself will definitely ensure that the band won't be booked again with his appearance!

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The Dynamic World of Roadies and Stage Crew on Tour: Behind the Scenes of Concert Productions

Introduction

The live music industry is a vibrant and thrilling realm where artists captivate audiences with their performances. However, behind the glamour of the spotlight lies a meticulous and hardworking team of professionals known as roadies and stage crew, who play a crucial role in ensuring the success of a concert tour. This report explores the multifaceted world of roadies and stage crew, delving into their responsibilities, challenges, and the camaraderie that defines their unique
profession.

Roles and Responsibilities

2.1. Roadies
Roadies, short for road crew, are the unsung heroes of the music industry, responsible for the logistics and technical aspects of a concert tour. Their roles encompass a wide range of responsibilities, including:

2.1.1. Equipment Management: Roadies are tasked with the transportation, setup, and maintenance of musical instruments, amplifiers, lighting systems, and other technical gear required for the show.

2.1.2. Stage Setup and Breakdown: Roadies ensure that the stage is set up to the artist's specifications, including the arrangement of instruments, microphones, and other equipment. Post-performance, they swiftly dismantle and pack everything for the next venue.

2.1.3. Sound Engineering: Roadies work closely with audio engineers to achieve the best possible sound quality during live performances. This involves managing microphones, soundboards, and monitoring systems.

2.1.4. Instrument Technicians: Some roadies specialize in instrument maintenance and repair, ensuring that guitars, drums, and other instruments are in optimal condition throughout the tour.

2.2. Stage Crew
The stage crew comprises various specialists who collaborate to create a visually stunning and seamless concert experience. Key roles within the stage crew include:

2.2.1. Lighting Technicians: Responsible for designing and operating the lighting setup, these professionals work closely with the artist to create the desired visual atmosphere for each performance.

2.2.2. Set Designers: Stage crew members responsible for conceptualizing and constructing the physical set, backdrop, and any special effects required to enhance the visual impact of the concert.

2.2.3. Rigging Crew: Experts in rigging and safety measures, this team ensures the secure installation of stage elements, lighting fixtures, and other equipment.

2.2.4. Pyrotechnicians: In charge of special effects, pyrotechnicians coordinate the use of fireworks, flames, and other pyrotechnic elements to add excitement and spectacle to the show.
Challenges Faced by Roadies and Stage Crew

3.1. Rigorous Schedule: The life of a roadie is characterized by long hours, extensive travel, and tight schedules. Setting up and breaking down equipment for consecutive shows in different cities can be physically demanding and mentally exhausting.

3.2. Technical Challenges: Dealing with complex audio and lighting equipment, troubleshooting technical issues, and adapting to diverse venues pose constant challenges for roadies and stage crew members.

3.3. Team Coordination: Effective communication and coordination are paramount in this fast-paced environment. Roadies and stage crew must work seamlessly as a team to ensure a flawless performance.

3.4. Safety Concerns: The nature of live events introduces potential safety risks, particularly when dealing with heavy equipment, pyrotechnics, and elaborate stage setups. Crew members must prioritize safety protocols to mitigate risks.
Camaraderie and Team Spirit
Despite the challenges, roadies and stage crew members often form tight-knit communities bound by a shared passion for music and live performance. The camaraderie built on the road fosters a sense of belonging and mutual support, creating a family-like atmosphere among the
crew.

Conclusion

In conclusion, the world of roadies and stage crew is a fascinating and intricate ecosystem that operates behind the scenes of every successful concert tour. Their dedication, technical expertise, and ability to adapt to challenges contribute significantly to the magic that unfolds on stage. While the spotlight may shine on the artists, it is the unseen efforts of roadies and stage crew that make live music experiences truly unforgettable.