Production partner for promoters, agencies and brands
I run the production. You run the event.
You sell the event. Who’s running the production?
The questions promoters, agencies and brands bring to the first call.
- Juggling five vendors, a venue and the artist’s team with nobody whose only job is production?
- Production bids you can’t compare, and invoices bigger than the quotes?
- Riders and advances that land on whoever booked the talent?
- Crew calls built on guesses, and overtime that eats the budget?
- A show day that depends on everyone remembering everything?
The week before a show without a production lead
How it usually goes. Not a client story.
- Mon 9:10 AMThe headliner’s updated stage plot is in someone’s inbox. The audio company is still working from the old one.
- Mon 3:30 PMThe staging bid came in high. Nobody can tell whether it’s padded or the other two left the roof out.
- Tue 1:00 PMThe venue asks for the power plan and the rigging plot. Nobody has one.
- Wed 10:45 AMThe labor company sends its crew call. It’s last year’s numbers.
- Thu 7:20 PMThe hospitality rider gets read for the first time.
- Fri 6:00 AMLoad-in starts. Two vendors need the same dock at the same time.
- Sat 9:40 PMA changeover runs long. Curfew doesn’t move.
Why it keeps happening.
It isn’t effort. Promoters and agency teams work as hard as anyone. It’s usually one of these.
Production as a second job
Production is a second job
Promoters, agencies and brands are built to sell tickets, clients and sponsorships. Production lands on someone who already has a full-time job.
Vendors running their own piece
Vendors run their piece, not the show
Every vendor manages its own scope well. Nobody owns how the stage, audio, lighting, video, power and crew fit together.
Production planned last
The production is planned after it’s sold
The date, talent and client promise are locked first. Power, load-in, weight and labor are checked afterwards, when changes cost the most.
What I do
What production management includes
- Production budget by department, tracked against bids and change orders
- Production timeline from booking to settlement, with the decisions each date needs
- Scope for staging, audio, lighting, video, power, rigging and site services
- Site visits and venue advance: access, docks, power, rigging points, curfew and house rules
- Production schedule: load-in, build, soundcheck, doors, show, changeover and load-out
- On-site production management and sign-off on every vendor’s work and hours
What I run for you
The whole production, or just the piece you need.
- What I run for youStage design and implementationTurn the creative vision into a stage that can actually be built, on budget.Read more
- What I run for youVendor procurement and biddingBids you can compare line by line, from vendors who can deliver them.Read more
- What I run for youArtist liaison and rider procurementEvery rider advanced, sourced and confirmed before the artist arrives.Read more
- What I run for youLabor and crew managementThe right crew, called for the right hours, briefed before doors.Read more
- What I run for youStage management and show callingA run of show that holds when the night doesn’t.Read more
- What I run for youBrand activations and toursThe same production, built the same way in every city.Read more
- Who it’s forFestival and concert production managementYou book the lineup and sell the tickets. I run the stages.Read more
- Who it’s forProduction partner for marketing and experiential agenciesYou own the client and the creative. I run the production.Read more
Who it’s for
People who throw events, not run production.
You own the event, the client or the brand. I run the stage, the vendors, the artists’ production and the crew, on your side of the table.
- Live event and concert promotersYou book the talent and sell the tickets. I run the stage, the vendors and the crew, and advance every artist.
- Festival producersMulti-stage, multi-day production: site, stages, power, changeovers, and one advance process across every stage.
- Marketing and experiential agenciesYou own the client and the creative. I turn the concept into a production that’s bid, built and run the way you pitched it.
- Brands and in-house event teamsActivations, tours, launches and sponsorships, produced the same way in every city without building a production department.
- Other event throwersUniversities, sports and fan events, nonprofits and associations running an event bigger than their team.
Proof
Shows I’ve sold and project managed.
Concerts, festivals, tours and brand activations from my time at production companies. They’re my experience, not clients of this business.
- County Line Music FestivalConcert or festival
- Deep Roots FestivalConcert or festival
- REVOLT WORLD 2024Concert or festival
- Robin Thicke TourConcert or festival
- Skillet ConcertConcert or festival
- Atlanta Wine & Jazz Festival 2023Concert or festival
- Pacific Feats Festival 2024Concert or festival
- Kentuckiana Pride FestivalConcert or festival
- Toyota Music Den 2024Fan event
- Credit One Credit Tip Off College TourFan event
- Atlanta United 2023 Block PartyFan event
- New York Fashion WeekLive show
Production companies sell you their gear. I work on your side.
I’ve worked every side of a show, from the loading dock to the sales desk. That’s how I know where a production goes wrong, and why I work for you, not the vendors.
Devon RaceManaging Director, Event Production Partner
Outsiders: A vendor sees its own package.
I see the whole stage, from building it as a stagehand: decks, roof, cable, and the hands it takes.
From the crew, as a stagehand
Outsiders: A vendor sees what’s on its shelf.
I see what the show needs and what’s padded, from running the warehouse that preps it.
From the warehouse, as warehouse manager
Outsiders: A coordinator sees a schedule.
I see the changeovers, power and crew calls, from project managing concerts, festivals, tours and $500K+ shows.
From the show, as project manager
Outsiders: A buyer sees three totals.
I see how production is priced and where the extras hide, from running sales at production companies.
From the sales desk, as head of sales and marketing
The production mistakes that cost events the most
I’ve watched each one happen from inside the company. You get the lesson without the bill.
Where I saw it: StagehandLoad-ins, audio, LED and staging
The mistakeApproving the stage before anyone has walked the site
What it costs
A rebuild on show day, with the crew on overtime
What to do instead
Check ground, power, access and the load-in window before the design is final
Where I saw it: Warehouse managerInventory, prep, trucks and returns
The mistakeTaking the lowest bid without checking what’s in it
What it costs
Cable, power and labor added back later at full price
What to do instead
Bid one scope and equipment list, and compare line by line
Where I saw it: Project manager$500K+ projects, crews and clients
The mistakeLeaving the artist advance until show week
What it costs
Backline bought in a rush, and a soundcheck that runs into doors
What to do instead
Advance every artist as soon as they’re confirmed
Where I saw it: Head of sales and marketingScaled companies from $750K to $3M+
The mistakePromising the client a look before it’s costed
What it costs
Your margin pays for the difference
What to do instead
Get a production budget before the pitch or the deal is signed
Relevant experience and expertise are the top criteria buyers use to evaluate potential service providers.
Took production houses local to regional to national. Built client relationships with Fortune 500 brands.
Common questions
Event production management, answered
What promoters, agencies and brands ask before the first call.
Who do you work for as a production partner?
Live event and concert promoters, festival producers, marketing and experiential agencies, brands with in-house event teams, and other event throwers such as universities and sports organizations. You own the event; I run the production.
Devon
How is this different from hiring a production company?
A production company sells you its gear and crew. I work on your side as production manager: I scope the show, bid it to the vendors who own the gear, and manage them and the crew through show day.
Devon
How is the work priced?
Per event or per season, scoped on a call around the size of the show, the dates and how much of the production you want me to run. There are no packages.
Devon
Can you take on just one part, like advancing or stage management?
Yes. Some clients want the whole production run; others want one piece, such as artist advancing, vendor bids or calling the show. We decide on the first call.
Devon
Where do you work?
Across the U.S. I’ve sold and managed shows in several regions and on tour, and local vendors and crew are sourced where the event is.
Devon
What does an event production manager do?
The production manager owns everything that has to be built, powered and crewed for the event: the production budget, the scope for each department, the vendors, the venue advance, the schedule and the people on site. The promoter or agency owns the event; the production manager makes sure what was sold gets built and runs.
Devon
When should I bring in a production manager?
Before you sign the big vendor contracts. Most of the cost and most of the show-day problems are decided when the scope is written and the bids come in, so the earlier the better. I can still step in closer to the date, but there’s less room to fix the budget.
Devon
Do you replace my vendors?
No. I work with the vendors you trust and bring in others where there’s a gap. My job is to make sure every vendor quotes the same scope, delivers what they quoted and works to one schedule.
Devon
Are you on site for the show?
Yes, for the build, the show and the load-out, as your production manager. For multi-day festivals and tours we agree the on-site plan when we scope the work.
Devon
Start with a conversation
Let’s talk about your next show.
- A 15-minute callBy video, about your company
- A short written planWithin three business days
- You decideNo packages, no pressure