Festival and concert production management
You book the lineup and sell the tickets. I run the stages.
Great lineup. Who’s running the stages?
Promoters spend months on the lineup and the marketing. The production gets whatever time is left, and festivals multiply every gap by the number of stages.
- Every stage advancing its artists a different way?
- Changeovers nobody timed until the first one ran long?
- A site plan that doesn’t match the power, the vendors or the load-in road?
- Weather, curfew and evacuation plans that live in one person’s head?
- Production costs that only become clear at settlement?
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
The team is built to sell tickets
Promoters and festival teams are great at talent, marketing and sponsors. Production is a separate job, and it usually goes to someone who already has one.
Vendors running their own piece
Every stage is run by a different vendor
Each stage’s vendor runs its stage its own way. Nobody is looking at power, crew and changeovers across the whole site.
Production planned last
Production starts after the lineup
Riders, stage sizes and backline land after the stages are already ordered, so the site gets fixed in a rush.
What I do
What I run for you
- Production budget by stage and department, tracked through settlement
- Stage and site plan: stages, FOH, power, generators, backstage, load-in routes and trucking
- Vendor bids for staging, audio, lighting, LED, power, rigging and site services
- Artist advancing across every stage, with backline and riders sourced
- Crew calls, stage managers and changeover plans for every set
- Weather, curfew and show-stop plans agreed with the site and the authorities in advance
What changes
Every stage built to plan, every changeover timed and a show that ends before curfew.
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 promoter sees a lineup.
I see stage plots, input lists and changeovers, from building festival stages as a stagehand.
From the crew, as a stagehand
Outsiders: A site team sees a map.
I see the trucks, the gear and the order it comes off, from running the warehouse that loads them.
From the warehouse, as warehouse manager
Outsiders: A vendor sees one stage.
I see the whole site, from project managing concerts and festivals end to end.
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
Festival and concert production management
What promoters, agencies and brands ask about this before the first call.
What does festival production management include?
Everything that has to be built, powered and crewed: the production budget, stages and site plan, vendor bids, artist advancing, crew, changeovers, weather and curfew plans, and running it all on site. The promoter owns the lineup, tickets and sponsors.
Devon
Can you run one stage instead of the whole festival?
Yes. Some promoters bring me in for the main stage or a second stage, working alongside their own site team. We agree the split on the first call.
Devon
What festivals and concerts have you worked?
As a project manager at production companies I sold and managed festivals and concerts including County Line Music Festival, Deep Roots Festival, REVOLT WORLD, Atlanta Wine & Jazz Festival, Pacific Feats Festival, the Robin Thicke tour and Skillet. The full list is on the events page.
Devon
How early should a festival bring in production?
Before the stage, power and major vendor contracts are signed, ideally when the lineup is still being finalised. Most of the cost and most of the show-day risk is decided then.
Devon
Keep reading
More of the production I run
- Who it’s forProduction partner for marketing and experiential agenciesYou own the client and the creative. I run the production.Read more
- 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
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