Artist liaison and rider procurement
Every rider advanced, sourced and confirmed before the artist arrives.
The rider says one thing. Soundcheck says another.
Artist riders change, arrive late and land on someone who has never read one. The show finds out at soundcheck.
- Tech riders that nobody on the team has read line by line?
- Backline, input lists or stage plots that changed and nobody told the audio company?
- Hospitality and dressing room requests sourced the morning of the show?
- A multi-artist bill with changeovers that nobody has timed?
Why it hasn’t been fixed yet.
It’s rarely effort. Owners in this business work harder than anyone. It’s usually one of these.
Production as a second job
Riders land on whoever booked the talent
The person who closed the deal isn’t always the person who can read an input list. The tech rider gets forwarded, not advanced.
Vendors running their own piece
The audio company sees its part, not the artist’s
Vendors work from what they’re sent. If the updated plot or backline list never reaches them, they deliver the old one.
Production planned last
Advancing starts the week of the show
Artist teams answer faster when they’re asked early. Leave the advance late and backline, flights and changeovers are fixed in a rush.
What I do
What the work includes
- Advance calls with each artist’s tour or production manager
- Tech rider review: stage plot, input list, monitors, backline, lighting and video
- Backline and rider sourcing, with what’s provided, substituted or bought out agreed in writing
- Hospitality, dressing rooms, catering and runners planned from the rider
- Changeover plan, set times and stage manager notes for multi-artist bills
- On-site artist liaison: arrival, load-in, soundcheck and settlement of production items
What changes
Artists who walk into a show that matches what was promised.
Scoped to your event. On the first call we go through the date, the venue, the talent and the budget, and decide how much of the production you want me to run.
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
Most production help sells you gear. I’ve worked every side of the show.
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 booker sees a rider PDF.
I see the input list, the monitor mixes and the backline that has to be on the truck, from building those stages myself.
From the crew, as a stagehand
Outsiders: A promoter sees a list of requests.
I see what’s in stock, what has to be subrented and what can be substituted, from the warehouse that pulls it.
From the warehouse, as warehouse manager
Outsiders: A coordinator sees set times.
I see the changeovers, the line checks and the curfew, from running concerts and festival stages as project manager.
From the show, as project manager
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
Artist advancing and rider fulfillment for promoters
What promoters, agencies and brands ask about this before the first call.
What is artist advancing?
Advancing is confirming every production detail with the artist’s team before show day: arrival and load-in times, the stage plot, input list, backline, monitors, lighting and video, hospitality, guest list and settlement items. A good advance means nothing about the artist is a surprise on site.
Devon
What’s the difference between a tech rider and a hospitality rider?
The tech rider covers what the artist needs to perform: stage, audio, backline, lighting, video and power. The hospitality rider covers dressing rooms, catering, drinks and transport. Both are part of the agreement, and both need a clear answer on what’s provided.
Devon
Can you handle riders we can’t meet?
Yes. Most riders are a starting point. I work through what can be provided, what can be substituted and what the artist’s team will accept, and get it agreed in writing before show day.
Devon
Do you work multi-stage festivals?
Yes. On a festival I set up one advance process across the stages, so every stage manager works from the same confirmed information and the changeovers are timed before the gates open.
Devon
Keep reading
More of the production I run
- 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 youLabor and crew managementThe right crew, called for the right hours, briefed before doors.Read more
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