FEATURE: Preparing for a big tour

 Despite all the economic pessimism that has wreaked havoc within the live music industry in recent years, the so-called “big tours” still exist. I don't mean the worldwide tours of the international superstars of the respective music genres, which will work perfectly for the rest of their existence due to their status, but the segment that covers the area of "saved annual vacation minus family" or "weekend cover within the local federal state”. This area is often covered by the semi-professional musician whose artistic income is not enough to survive and is therefore often secured by a part-time job, but whose priorities are 100% on music and its possibilities. You are welcome to come together here for 4 weeks or more at a time, which will show many points in a different light than what you previously imagined. Let's take a closer look at the economic, social and technical minefield.

The definition of a tour

As most people probably know, the definition of a tour has evolved dramatically over the last two decades. While some time ago the live performance had the function of promoting a new album by the band/artist, from which the majority of the profit was generated, this has now been reversed. Today you bring a new album onto the market to have a reason to tour, since there is no longer any profit to be made from the distribution and sale of a classic record. It's not without reason that the current Media Control Charts have fallen in reputation, as sales of almost 3,000 albums within a week are now enough to reach second place. The famous top 10 placement is therefore just a gleam in the eyes of the musicians, although the businessman waves it off with a smile and what can be “earned” in the area of streaming below the multi-million mark due to the criminal distribution level is probably well known by now.

Therefore, playing live in combination with the most important aspect of touring, the sale of merchandise, and for larger acts also the sale of VIP tickets, offers the last bastion of making a significant profit, whereby the breakdown of the fee = cap on the travel costs and transport costs, merchandise = profit from the tour in the order of an average of around 300 visitors per show. Anyone who sets about planning a strict tour, preferably without day-offs for more than a month, is confronted with several imponderables, especially at the beginning of their career, which, depending on the amount of work and accumulation, can quickly capsize the “tour” boat. So, what should you pay attention to on a “big tour”?

1.) Physical

Like the author of this article, you don't have to have exceeded a certain quota of decades to know that a tour that exceeds the sequence "Fri., Sat., possibly Sun. on tour, then 4 days at home" is one represents a mammoth physical task. What is often presented to the outside world as a “2-hour show, otherwise it’s cool to hang out on the bus and play video games” actually demands far more from the body, especially in the area of sleep deficiency/imbalance, than you might initially imagine. When you're in your early 20s, the whole thing seems like a joke, as you can easily go a week without sleep and celebrate every day when your rind cracks, but this week is also coming to an end and with it your fitness. Every day you spend on tour, you lose a percentage of your fitness, which eventually ends in total exhaustion. Therefore, the more you have trained your body in advance for fitness, a healthy diet and a balanced daily routine, the longer you will ultimately last.

2.) Psyche

Point 2 is even more severe than point 1, as you cannot prepare adequately here. Only those who manage 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, always too little space for everything, not to mention sleeping on a roaring diesel, which with a bit of luck will perhaps be replaced by an electric motor in the medium term. This scenario wears down anyone who hasn't either known this procedure for years or has their psychology well under control.

3.) Equipment

To put it briefly, it must, not it should, everything MUST be present twice on a longer tour. 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, just about everything. I've experienced tours where the keyboard player broke a C key during the show, after which he was able to demonstrate his spontaneous performance in the area of inversions. Or keyboard players whose keyboard has completely given up the ghost and the MacBook keyboard has been used for other purposes, at least for layer work.

Of course there are also wearing parts such as strings, drumsticks, skins, gaffa tape, but also unusual things such as the cerumen filters of the Inear systems. As soon as the filters become clogged, there is no longer any treble on the earphones, which reduces the monitoring to absurdity. It goes without saying that every part should be checked for functionality beforehand, but you wouldn't believe how often colleagues show up at the venue with empty batteries. It is helpful to have items such as: B. to get batteries in a maxi pack so that everyone can use them and to have the costs paid from the tour revenue. This means that my colleagues also have functioning equipment who only take responsibility for sound and functionality up to the output socket of their instrument and believe me, I also have such representatives in my direct work environment.

Another point, if not the most important point of a big tour is the packaging in cases. I know colleagues who check in their instrument in the cardboard delivery box at the airline check-in counter and are surprised that more kindling arrives at the destination than anything else. Professional flight cases or at least high-quality hardshell cases are now available for really little money and if your instrument is not worth at least this protection, you at least have an obligation to the tour crew to offer functioning equipment every evening.

4.) Touring abroad

The specifics of foreign tours would go far beyond the scope of this article; the topic of visas alone would take up several reports, not to mention the topics of import regulations, mains voltages, radio frequencies, foreign tax, residence permits and much, much more. Therefore, we leave the overseas area out of the equation and only deal with the most important points in the EU area, which significantly simplifies the problem. Apart from our Swiss friends, who can get on your last nerve with their import and export regulations, touring in the EU is comparatively easy. The currency is (still) mostly the same, there are no longer any physical border controls, we all drive on the right side and our mains voltage is more or less fixed at 230V. In addition, the power plugs are mostly compatible, exceptions such as the non-EU countries GB and CH must be taken into account when making a detour.

Aside from the distances between countries, depending on the country there is actually only one big problem that you should always keep in mind: the problem of communication. The fact that English is the first foreign language in school in every country still does not seem to have sunk in in some countries. Unfortunately, the situation only changes very, very slowly and, especially in the local music sector, you are completely lost without rudimentary local language skills, although there is a typical north-south divide. While you can usually find excellent English in the Scandinavian countries or the Netherlands, unfortunately countries like Greece, Italy and Spain still occupy the last places, at least in the music sector. I don't know how many times my backliner Bernie, who speaks fluent Spanish, has saved our asses, from a simple order in a restaurant to security at an international airport in Spain. Not a word of English!

Therefore, you should familiarize yourself with the translator functions of your cell phone in good time. Both operating systems now have good functions, so that you can at least discuss the most important points in the local language. When it comes to musical terminology, most programs fail.

A final tip: nothing is as well received at foreign shows as a few announcement phrases in the local language. Of course you can wave the respective national flag after the encore, but this involves a lot of logistical effort and some transport costs. For example, you are better served with “Witajcie przyjaciele, cieszymy się, że jesteśmy z wami.” (Polish) in phonetic transcription.

Have fun and good luck with your shows!

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Additional Informations:

The global nature of the music industry often necessitates musicians to travel internationally for tours, performances, collaborations, and promotional activities. However, the COVID-19 pandemic and other geopolitical factors have significantly impacted international travel, leading to a myriad of entry restrictions and requirements for musicians. In this detailed exploration, we will delve into the complex landscape of international entry restrictions that musicians face, considering the diverse policies across countries and the evolving nature of travel regulations.

I. Impact of the COVID-19 Pandemic:

A. Travel Bans and Restrictions:
   1. Many countries have implemented travel bans or restrictions in response to the ongoing COVID-19 pandemic.
   2. These restrictions may include quarantine requirements, vaccination mandates, and specific entry protocols.

B. Dynamic Nature of Regulations:
   1. Entry requirements are subject to change based on the prevailing global health situation.
   2. Musicians must stay informed about real-time updates and be prepared for sudden changes in entry regulations.

II. Visa and Work Permit Considerations:

A. Artist Visas and Work Permits:
   1. Musicians often require specific artist visas or work permits to perform in foreign countries.
   2. The application process for these documents varies by country and may involve extensive paperwork and coordination with event organizers.

B. Timing and Planning:
   1. Securing visas and work permits can be time-consuming, and musicians must plan well in advance of their intended travel dates.
   2. Delays in visa processing can impact tour schedules and contractual obligations.

III. Entry Requirements by Region:

A. Europe:
   1. The European Union (EU) has implemented the Schengen Area, allowing for easier travel within member countries.
   2. However, individual countries within the EU may have varying entry requirements, particularly in the context of the post-Brexit landscape.

B. North America:
   1. The United States and Canada, both major destinations for international touring, have specific entry requirements for musicians.
   2. Navigating the visa process and adhering to border control regulations is crucial for seamless entry.

C. Asia:
   1. Asian countries often have strict entry requirements, with variations in visa types and processing times.
   2. Cultural differences and language barriers may pose additional challenges for musicians navigating entry regulations in this region.

D. South America:
   1. Entry requirements in South American countries can vary, with some nations requiring specific documentation for artists.
   2. Musicians must be aware of the diverse regulations in place across this continent.

IV. Pandemic-Related Protocols:

A. Vaccination Requirements:
   1. Some countries mandate vaccination against COVID-19 for entry.
   2. Musicians may need to provide proof of vaccination and adhere to booster shot recommendations.

B. Testing Protocols:
   1. COVID-19 testing, including pre-departure and post-arrival tests, is often a standard entry requirement.
   2. Musicians must plan for the associated costs and logistics of testing while on tour.

V. Collaboration with Industry Professionals:

A. Tour Managers and Agents:
   1. Collaborating with experienced tour managers and agents is essential for navigating complex entry regulations.
   2. Industry professionals can provide guidance on visa applications, entry requirements, and logistical planning.

B. Legal Counsel:
   1. Seeking legal counsel familiar with international travel regulations for musicians can ensure compliance and mitigate risks.
   2. Legal advisors can assist with visa applications, contractual agreements, and dispute resolution.

VI. Future Outlook and Adaptation:

A. Advocacy for Streamlined Regulations:
   1. Industry organizations and musicians' associations may advocate for streamlined international entry regulations for artists.
   2. Collaborative efforts can lead to improved visa processes and standardized entry requirements.

B. Technological Solutions:
   1. Advancements in technology may facilitate smoother entry processes, such as digital visa applications and streamlined document verification.
   2. Musicians should stay abreast of technological innovations that could simplify international travel.

Conclusion:

Navigating international entry as a musician involves a complex interplay of COVID-19-related protocols, visa requirements, and regional entry regulations. The evolving nature of the global landscape requires musicians to stay informed, plan meticulously, and collaborate with industry professionals to ensure seamless and compliant travel. Despite the challenges, adapting to the dynamic entry requirements is crucial for musicians to continue sharing their art on a global stage and fostering cross-cultural musical exchanges.