FEATURE: How Is The Big Tour Planned And Implemented?

 When I listen to one or two accounts from acquaintances, some of whom can't go beyond the event organizer's partial reimbursement of the travel costs to the club, I'm sure that an article about planning a big tour must sound like sheer mockery to them . The initial situation of even putting on a coherent tour to cover the costs is more catastrophic than ever for unknown bands and for years there has only been one direction, namely downwards. Nevertheless, despite all the economic pessimism in the live music scene, there are still "big tours", although these are primarily carried out by established or very well-known artists. However, even these are not about worldwide tours by international superstars, which are successful anyway but the area that goes beyond the "saved annual vacation minus family" or the "weekend with local gigs." Semi-professional musicians often cover this area because their artistic income alone is not enough to survive and they therefore have to secure themselves with a part-time job. However, your priority is 100% on the music and the opportunities it offers. In this area, three weeks or more in a row can arise, which can make many things appear in a different light. Let's Take a closer look at the economic, social and technical minefield so that as few mistakes as possible are made in advance

The definition of a tour has changed significantly over the last two decades. As is well known, a live performance used to be mainly used to promote the band or artist's new album and thus generate most of the profit. Nowadays it's the other way around. You bring a new album onto the market in order to have a reason to go on tour, since there is no profit or comparatively little profit to be made from the sale of classical recordings. The current charts have long since lost their significance, as just under 3,000 albums sold in one week are now enough for second place in the official Media Control Charts. A placement in the top 10 is therefore only an honor for musicians, while serious business people can only smile with pity at such sales. What you can “earn” in streaming below the multi-million mark is probably well known by now.

Planning a big tour

That's why playing live in combination with selling merchandise and VIP tickets for larger acts is the last chance to make a significant profit. The distribution of income has become established: the fee covers travel and transport costs, while the sale of merchandise represents the profit from the tour and depends on the number of visitors per show, from which the “sales per visitor” is determined. Anyone planning a strenuous tour, without breaks for more than a month, is faced with various uncertainties at the beginning of their career that can quickly capsize the boat called "tour".

To be clear, this article is not about successful booking or similar, this area has already been covered in this article (https://www.amazona.de/newcomerband-euer-erstes-booking-wie-wo -was/ ) treated in detail. Rather, it is intended to point out that many areas can be optimized in advance with relatively little effort, which can later cause problems during ongoing tour operations.

Of course, you can take everything into your own hands and take on all the other functions in addition to operating your own instrument, but in most cases this leads to a decrease in the quality of your own performance on stage. If you don't have the head free for your personal artistic achievement, you'll end up bypassing the visitor. If you have the means of transport, you should at least have a merchandiser and a tour leader/driver/backliner on board. The merchandiser can be motivated by a percentage share of the sales, but a separate agreement must be made with the tour leader.

In general, planning and carrying out a major tour requires a lot of commitment, organization and careful preparation. It is important to consider various tasks in advance to ensure that the tour runs smoothly and has the desired success. The first step in preparing for a tour is to define clear goals. Do you want to win new fans, promote a new album or expand your presence in certain regions? Based on these goals, tour dates and locations should be decided. It is important to take into account travel times, potential target groups, seasonal characteristics and existing fan bases in the individual cities or countries.

Regarding budgeting and financing, it is always advisable to create a detailed budget for the tour itself, including all expected costs such as travel, accommodation, food, transport, equipment, marketing and promotion. You should also plan beyond just the salary and include income from previous shows, support from record companies or sponsors or through crowdfunding campaigns in the planning.

Preparations for a big tour

Many points within the daily routine vary when living “on the road”, which is why you should pay particular attention to the following things on a “big tour”:

1.) Physical stress
A tour where you are on the road for longer than just Friday to Sunday or even longer and then only have four days at home is a mammoth physical task. It is not necessary to be as old as the author of this article to know that the body particularly suffers from lack of sleep and psychological imbalance. What is often presented to the outside world as a “2-hour show and just hanging out on the bus and playing video games” challenges the body much more than you would initially think. When you're in your early 20s, the whole thing might seem like a joke, since you can go a week without sleep and celebrate getting your rind cracked every day. But this week is also coming to an end and with it the fitness. With every day on tour you lose a percentage of your fitness, which ultimately ends in total exhaustion. It is therefore advisable to strengthen your body in advance through fitness, a healthy diet and a balanced daily routine in order to last longer.

I've already been on tour with many young support bands who didn't miss an opportunity to indulge in rock'n'roll in all its clichés until it was just amazing. You can do it, but forgetting instruments at the venue and the latent getting on your nerves because the headliner is full as a bucket around the clock isn't good in the long run and has a positive effect caused one or two expulsions from the tour.

2.) Psyche
The point of psychological stress needs to be taken into account even more than the point mentioned above, as you cannot prepare adequately here. Only those who are prepared to completely give up their privacy for the duration of the tour can really enjoy everyday tour life. If you work with hotel beds and have the luxury of single beds, you may be able to build a small refuge into which you can at least partially retreat. However, anyone who works with nightliners/tour buses is forced to subordinate their personal daily routine to the entire tour party. There is extreme crampedness, completely different ideas about the room temperature and always too little space for everything. Not to forget sleeping on a roaring diesel, which with a bit of luck will perhaps be replaced by an electric motor in the medium term, but is still the standard at the moment. This scenario wears down anyone who hasn't either known this procedure for years or has their psyche well under control.


3.) Equipment
To get to the point, the most important point of a big tour is packing the equipment in cases. Professional flight cases or high-quality hardshell cases are now affordable and offer reliable protection for the instruments. Unfortunately, there are still colleagues who check in their instrument in a simple cardboard box at the airline check-in counter and are then surprised when there is only rubble left at the destination. Every musician has a responsibility to provide working equipment every night, and that includes appropriate protection.

Another crucial point is the availability of spare parts and accessories. On a longer tour, all parts really have to be present twice. Not just the guitar and maybe a spare cable, but really everything. Power supplies, stompboxes, power cords, guitar straps, DI boxes, amplifiers, speakers, in-ear systems, transmitters, microphones and much more.

In addition, wearing parts such as strings, drumsticks, skins and gaffa tape are required. There are also unusual things like the cerumen filters in the in-ear systems. As soon as these filters become clogged, you can no longer hear any treble in the earphones, which makes monitoring pointless. Of course, every part should be checked beforehand to ensure it is working, but it is surprising how often colleagues show up at the venue with empty batteries. It is helpful to stock up on items such as batteries in a maxi pack before the tour begins so that everyone can help themselves and the costs can be covered by the tour proceeds. This means that our colleagues also have functioning equipment and are only responsible for the sound and functionality up to the output socket of their instrument.

Ultimately, however, everyone has to know what they can expect of themselves and their colleagues, but there is one thing you should always be clear about. If the fan only gets a substandard show due to some kind of personal misconduct, there is no excuse!

So have fun and good luck with your shows!

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Additional Informations:

For musicians aspiring to showcase their talents on the global stage, understanding the complex web of international entry requirements is paramount. Traveling from one country to another involves negotiating a labyrinth of visa regulations, work permits, and cultural nuances. This article provides an in-depth exploration of the entry requirements for musicians worldwide, shedding light on the challenges, variations, and evolving trends in a landscape where artistic expression meets immigration protocols.

1. Visa Categories for Musicians

Musicians often fall under various visa categories depending on the nature and purpose of their visit. Common visa types include:

   a. **Tourist Visa:** Musicians performing in non-commercial, non-profit events or festivals may be eligible for a tourist visa. However, the limitations on remuneration and performance venues must be carefully considered.

   b. **Artist/Entertainer Visa:** Many countries offer specific artist or entertainer visas designed for performers. These visas often require detailed documentation of the performance, contracts, and the artist's credentials.

   c. **Business Visa:** In some cases, musicians traveling for business purposes, such as meetings with industry professionals, may utilize business visas. However, performing at public events may be restricted under this category.

   d. **Work Visa/Permit:** Musicians engaged in commercial performances, tours, or recording sessions often need a work visa or permit. These applications require extensive documentation, including proof of employment and adherence to local labor laws.

2. Documentation and Application Processes

Navigating the documentation and application processes for musician visas can be intricate. Key elements typically include:

   a. **Invitation Letters:** Musicians are often required to provide invitation letters from event organizers or sponsors, detailing the purpose, duration, and scope of their performances.

   b. **Contracts:** Comprehensive contracts outlining the terms of performances, remuneration, and other relevant details are crucial for visa applications. These documents often undergo scrutiny to ensure compliance with immigration regulations.

   c. **Proof of Artistic Credentials:** Musicians may need to provide evidence of their professional standing, including awards, accolades, and previous performances. This helps establish the artist's legitimacy and contributes to the approval process.

   d. **Travel Itineraries:** Clear and detailed itineraries, including performance venues, dates, and accommodation arrangements, are essential components of visa applications.

3. Regional Disparities and Challenges

The entry requirements for musicians vary significantly from region to region, reflecting the diverse cultural, economic, and political landscapes. Challenges include:

   a. **Stringent Security Measures:** In the post-9/11 world, many countries have implemented stringent security measures that can affect the visa application process for musicians. Background checks and security clearances may be required.

   b. **Economic Considerations:** Economic factors, such as the potential impact on local job markets, can influence visa approval. Some countries prioritize the employment of local artists and may impose restrictions on foreign performers.

   c. **Diversity of Regulations:** Navigating a patchwork of regulations can be daunting. Musicians touring multiple countries must adapt to varying visa requirements, processing times, and documentation standards.

4. Cultural Sensitivity and Awareness

Beyond legal requirements, musicians must also be attuned to cultural norms and sensitivities. Understanding local customs, traditions, and etiquette can contribute to successful performances and positive interactions with local communities.

   a. **Cultural Competence:** Musicians should invest time in researching and understanding the cultural contexts of the countries they plan to visit. This includes knowledge of appropriate attire, audience expectations, and respect for local customs.

   b. **Language Considerations:** Language barriers can pose challenges. Musicians may need to consider communication strategies, such as hiring interpreters or collaborating with local artists to enhance cross-cultural understanding.

5. Evolving Trends and Adaptations

The dynamics of international travel for musicians are continually evolving, influenced by geopolitical changes, global events, and technological advancements. Recent trends include:

   a. **Virtual Performances:** The rise of virtual performances, especially in response to the COVID-19 pandemic, has reshaped the landscape. Musicians now explore digital platforms for international exposure, albeit with unique considerations.

   b. **Collaborative Initiatives:** Collaborative initiatives between countries to streamline visa processes for artists have gained traction. These efforts aim to foster cultural exchange while addressing the challenges associated with traditional visa requirements.

   c. **Technological Solutions:** Some countries are exploring technological solutions, such as digital visa applications and online platforms for document submission, to simplify and expedite the process for musicians.

Conclusion

Navigating the worldwide entry requirements for musicians demands a combination of legal acumen, cultural awareness, and adaptability. As musicians aspire to share their art with diverse audiences, the intricacies of visa applications and the evolving global landscape necessitate strategic planning and collaboration between artists, industry stakeholders, and immigration authorities. By understanding and addressing these challenges, musicians can continue to traverse borders, bridging cultures through the universal language of music.