“Hey I just want to know something. Is it my gig to find out who you are and what you require, lighting-wise, when you come to my town? Or are you the one who’s supposed to call me?” Scott asks, in all sincerity. I reply that by all means it is MY gig as the traveling representative with the act, to make sure that I can simulate the light fixtures, truss structures, hang points, smoke, backdrops etc. that I require for my scenery. I also advance the video with each place. Scott’s simple reply made me sad. “Well, I wish you would let all these other LD’s know this, cause I’m really tired of having to hunt down these people and do their gig.”
No Surprises, Please
Fair enough. I talk to a lot of promoter reps, and they explain that the lack of advance info just kills them at times. There’s a lot of hack LD’s out there who can’t be bothered on their off afternoons to advance their gig. That’s right — I’m calling you out. I don’t care if your group plays six gigs in a row with a few matinee performances to fill your docket; you still have to do your gig. I know guys who are going into different stadiums daily with hundreds of moving lights to contend with cloning into their own show. They find time to advance every gig, because they care about their job.
Whether it’s a club gig or a stadium, it takes time to get systems together that will match your specs. There may not be fly points to accommodate where you would like your trusses hung. Suppose you don’t advance the gig and find out on the morning of the show that the only way you can even remotely erect the show the band has become accustomed to is by using ground support. Such ground support towers are never just hanging around for your convenience. Sure, they are probably within an hour drive of your gig, but first you have to find them, put them in a truck, get them to the gig and set up. Your lazy ass just wasted three hours of precious load-in time, and everyone else is now rushed. They pretty much hate you at this moment.
Of course, since you are lazy and need a way out, you concoct the proverbial “B plan” to cover your own butt. “Let’s stand all the trusses on end, and we can attach lights to each side to counter balance them. Just nobody bump into them and we will be okay!” Sure, let’s use up more valuable stage space with floor stuff. And, by the way, your band will hate you now, as this is certainly not what they were paying for when they rented the lights. Ten lousy minutes of your life advancing the lighting would have prevented this hellish gig today.
When playing one-offs at casinos and state-fair type gigs, the local lighting vendor usually has a basic package deal they supply for incoming bands. The price is worked out ahead of time, but that doesn’t mean you are stuck using the gear they recommend. Unless you never advance your gig. For instance, I know that Scott is going to provide a minimum of 120K in PARs, some audience moles and perhaps a dozen MAC 2K profiles on a mid truss. That’s the deal he’s got with the local shed, if he never hears from you.
But one simple phone call to him in advance, and he will make sure you have the upstage drape truss you require hung in place before you get there. Need a few Leko key lights to help your day? Heck, I’m sure he can help you out. You may glance at the old hard edge fixtures the promoter wants to use and groan, wondering how many will actually work that day. Scott owns other fixtures. He may just have some Vipers or Robe BMFL’s available that day and can offer a deal. The promoter may be happy with the ticket sales at the event and pick up the extra cost of them. How do you know if you do not ask?
Local vendors are indeed my Hometown Heroes all over the place. Through my years of touring I have met my share and always like using the same vendors repeatedly. They remember you. If you were not pleasant to deal with, they will definitely remember you — not in a good way. But if the last gig went smoothly, make sure you let them know how happy you are that their services are being used as the vendor. Kindness in words goes a long way. More than likely, I am happy to substitute fixtures to help out the local company. That makes it so much easier when I need a favor back. Through advancing my lighting, I enter a bartering match in a way. “Sure, I guess I can use those lovely MAC 500’s you have leftover from 1996. But you gotta throw me in a dozen LED pancake fixtures you have lying around and, oh, by the way, got any strobes?” If it’s on their shelf, it’s not costing them anything to throw the LED fixtures on a truck to help out a nice guy. By the same manner, we, as beggars, are not allowed to complain if all the donated gear does not function at 100 percent.
Competing for Resources
Festival lighting is always a race for time and space. It’s imperative that the local stage manager knows exactly what you are bringing in the way of floor lights and risers ahead of time so he has a plan for set change. They need your power requirements as well as spotlight gel colors. They need to make considerations for your 10-foot-wide motorized drum riser with the 200 LED fixtures that will not fit, let alone hide anywhere on stage prior to your band’s performance. They make tight schedules and keep the bands on time. If you show up day of show with some big ass lighting props, they will ask you point blank why you couldn’t have been a pro and send them a list of what you were bringing when they asked.
Twenty years ago, I was lighting a festival, and the Foo Fighters were headlining. I had emailed and tried calling their touring Lighting Director for days but to no avail. During day of show, nobody approached the console. I had set up for a punt page for other acts and I was prepared to run it. Five minutes before the band went on stage, their LD walked up and introduced himself. I showed him what I had set up and he said cool and lit the band. Five minutes into the set he turned to me and asked, “Why isn’t my backdrop flying?”
