Festivals
What a festival production manager actually does in the fortnight before gates open
Two weeks, one spreadsheet, and four hundred decisions an audience only notices when they go wrong.
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Every story from the desk, newest first. 28 published so far.
Festivals
Two weeks, one spreadsheet, and four hundred decisions an audience only notices when they go wrong.
Interviews
On Sunday afternoons, on leaving space in an arrangement, and on never opening with the strongest song.
Venues
A 1920s room spent its budget on lights instead of speakers, and the audience got quieter.
Gear
A kit, a bass rig and two amps for one night cost more than most support acts are paid to play it.
Artists
Two guitars, one fuzz pedal, and a set list built backwards from the final song.
Industry
Between the two hundred capacity bars and the stadium dates there is almost nothing, and that gap is where careers grow.
Venues
Sign up on the night, fifteen minutes each, house guitar in the corner. Nine years and no booking sheet.
Festivals
Changeover time is not padding, it is the only thing protecting every act that plays after it.
Interviews
Forty gigs, eleven songs, and a notebook that never once left the guitar case.
Artists
Two channels and a decision that split the group for a month, settled by moving rooms rather than buying gear.
Live Reviews
Eleven until one is a different job to nine until eleven, and most contracts still price them the same.
Live Reviews
Four acts, one shared kit, and a headline that ran twelve minutes long without a single person checking the time.