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Studio Systems · Episode 11 · 2:45
How a concert tour really moves.
Concert touring logistics from a technical director who worked Taylor Swift's Fearless Tour and the Super Bowl: the advance, riders and the brown M&M test, the truck pack, arenas vs stadiums vs theaters, flypacks, touring vs local crew, testing, halftime staging and load-out.
Key takeaways
- The advance comes weeks out: rigging points and weight limits, docks, power, stage size and local crew calls. Nothing rolls until it is done.
- The rider covers technical and hospitality needs. Van Halen's no-brown-M&Ms clause proved whether the venue read every page.
- Load-in follows the truck pack: rigging, stage, lighting, audio, video, backline. The last truck in is the first truck out.
- Arenas have a grid and docks; stadiums often leapfrog multiple sets of steel; theaters mean tight docks, long pushes and less weight overhead.
- A flypack is a control room in road cases (switcher, router, camera control, comms) that ships as freight and racks up anywhere.
- The touring crew knows the show and the local crew knows the building; the best days are when both trust each other.
- Test everything before doors: find the problem at 2 PM so it never finds you at 9.
Chapters
Read the full transcript
I worked Taylor Swift's Fearless tour and events like the Super Bowl, and here's what nobody sees. The show you watch is about two hours. Getting it there takes weeks of planning and one very long day. Let's talk touring logistics. It starts with the advance. Weeks out, production calls every venue and checks the specs. Rigging points and weight limits, loading docks, power, stage size, and how many local crew to call.
Nothing rolls until the advance is done. Then there's the rider, the technical and hospitality requirements in the contract. Van Halen famously demanded no brown M&Ms. It wasn't a diva move, if brown ones showed up, the venue hadn't read the rider closely, so the crew double checked everything, starting with the rigging. Show day starts early. Riggers come in at dawn to mark points and fly the motors. Then, load-in follows the truck pack.
Rigging, stage, lighting, audio, video, and backline. The last truck in is the first truck out. So the pack order is the plan. Every venue is different. Arenas give you a grid and a loading dock. Stadiums often have nothing to hang from, so big tours leapfrog multiple sets of steel, building the next stage while tonight's show runs. Theaters mean tight docks, long pushes, and less weight overhead. And when a truck can't make the trip, there's the flypack.
A full control room broken down into road cases. Switcher, router, camera control and comms, all built to ship as freight and rack up anywhere. From a hotel ballroom to a hallway backstage. The touring crew knows the show. The production manager, stage manager, FOH and monitor engineers, the LD, video and backline techs. The local crew knows the building. Stage hands, riggers, loaders, and spot ops. The best days are when both trust each other.
Before doors, everything gets tested. Power and distro, rigging inspections, line check, sound check, lighting focus, video and time code. Find the problem at 2:00 in the afternoon, so it never finds you at 9:00. Events like the Super Bowl take it to the extreme. A halftime stage rolls onto the field on carts, gets built, performs, and clears in minutes. Because every single move was rehearsed for weeks. And when the last song ends, the show isn't over.
Load-out runs through the night, the trucks roll, and the next city does it all again. Plan the trucks, respect the crew, and always check the rider.
About the host
Tom "Lucky" McNulty is a broadcast technical director and studio engineer with 20+ years building and running studios, control rooms and live shows: Big Brother and Hell's Kitchen, studio services at Bunim/Murray Productions, Apple launch productions, and festival VJ and IMAG work including Daft Punk's 2006 Coachella set. Studio consulting · Portfolio
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