CONCERTS & TOURING 39
The goal is to automate
as much as possible in the background so I can focus on her vocals. That’s always the priority
MADISON JULIE CREATIVE
crew meant we were able to handle all requests and keep rehearsals progressing without interruption.” Carlene Annon, Britannia Row crew logistics manager, similarly stresses the importance of working closely alongside production and tour managers to get the right balance of skill set, experience and personalities. “Familiar faces, client trust and successful, tried-and-tested working relationships are helpful,” she states. Working in such close proximity for extended periods of time comes with many challenges for touring crews. Good relationships are invaluable. “When away from friends and family, crew effectively become extensions of that. They can help a tour feel like a home away from home,” says Annon. “Knowing you are leaving home to work with a colleague or friend you connect with makes heading to that tour bus a little easier. There is a different support network waiting.” “Everyone involved with Florence’s tour has been a pleasure to work with,” concludes Jonathan Dunlop, Britannia Row account executive. “From the production office to the audio crew, the whole team has helped to create a memorable arena show. “Before the tour moved to US venues, colleagues in our Lititz and Nashville locations worked to prepare its seamless technical continuation. Following a huge welcome in North America, including two sold-out nights at New York’s Madison Square Garden, I look forward to further ensuring the crew receives flawless audio services in the future.”
Having locations worldwide helps Britannia Row support the tours. “Our job is not over once the equipment has left the building and, occasionally, we receive requests for additional or replacement equipment in a short timeframe,” he adds. “Having such an extensive global support network of equipment and personnel means we can act on these requests with the help of our local colleagues. This extends to when our tours cross continents for additional legs.” As this tour had an extensive period in band rehearsals and production rehearsals in the UK before their first live show, Britannia Row was always on standby for requests or support. “It can be as simple as a change in microphone preference or a small PA system for dancers to rehearse with. The slick communication between the tour’s production team and our freelance audio
end of the arena, but to address this we have implemented a centre delay hang to improve consistency for the audience in those seats.” Behind the scenes, delivering such a high level of consistency night after night relies on a broad support network. BREATH OF LIFE For this tour, audio provision is handled by Britannia Row Productions, whose long-standing relationship with the band and its crew underpins the scale and reliability of the system on the road. Over the years, it has supplied sound systems for major artists including Pink Floyd, Frank Sinatra, Stevie Wonder, Peter Gabriel, The Cure, Depeche Mode, Foo Fighters, Oasis, Robbie Williams, Dua Lipa, Billie Eilish and Harry Styles. Jay Roome, Britannia Row operations coordinator, discusses how important the relationship with a touring crew is. “We involve them throughout the whole process of building out jobs and equipment lists,” he says. “Sometimes, a gear list or rack drawing can look good on paper. But when you involve the people that will get hands-on with the gear, you have the chance to adjust accordingly to make their load-in or load- out faster.” Touring crew are the eyes and ears on the road. Their up-to-date knowledge and experience is invaluable. “Given how fast the industry is changing, whether it’s new equipment, infrastructure, venues or changing legislation, the feedback we receive from crew members makes the next tour even better,” says Roome.
The tour’s production team was in close contact with its kit suppliers, so it could feed back on workflows
Powered by FlippingBook