A good event starts with a solid understanding by all parties of what is expected from start to finish. For that reason, behind every professional live performance is a detailed written “Contract”. Often attached to the contract are even more detailed documents called “Riders” that spell out exactly when and how the performance day will unfold - these may be written descriptions or detailed diagrams. From the seemingly mundane parking arrangements, seating charts, and layout of furniture and snacks in the dressing rooms to the catering menus, merchandise tables, and placement of the security guards, right on up to the exact specifications of the loading dock, stage, technical equipment, and crew required. Should any questions or disputes arise, the contract (including all riders) is king.
There are really only two reasons something finds its way into a written contract:
1. It’s “Industry Standard” or common practice.
2. It’s "Non-Standard" but absolutely intended for a specific reason - often due to a previous bad experience by that particular artist or manager.
Because the standard details are often copy/pasted in from contract to contract with only slight variation, they might seem mundane - especially after you’ve read a few (hundred) contracts. But don’t be fooled! These oft-skimmed-over particulars actually makeup the cornerstones of a good show day and, for that reason, should never be taken for granted.
On the other hand, the non-standard contract items can be anything but mundane. There are tons of tales out there of picky “Artistes” and their wild and seemingly random contractual requests. These items can range from typical to mythical; exotic to downright illegal. Whether it is a specific temperature setting for the dressing rooms and stage or a request for erotic dancers and contraband backstage after the show - the contract and riders spell out those unique demands.
While most contracts are not that much fun to read, we’ve occasionally come across a jewel or two that were very entertaining in their approach (see Iggy and the Stooges). We’ve also read our share of condescending dissertations by obviously disgruntled tour/production managers who were seeking to legislate all frustrations out of their day via lengthy and sarcastic documents that mocked and chastised the very local people they would depend upon to do their show (see Big Bad Voodoo Daddy). One recent artist rider we perused went on to state the esteemed skills and credentials of the artist’s production manager/audio engineer - who had obviously written the document himself. Ironically, we had never heard of him or any of his credentials. The contract is not the place to chastise or boast - but IT IS the place to dictate all of the important details of the event.
Now let’s take a look at the Apaulo Production’s method for successful event planning and execution.
(The following steps are usually initiated within 30-60 days of a performance and we aim to have all advance details settled within 7-14 days of the event).
1. Get The Contract: When a potential contract event comes our way, we don’t just “wing” it. The very first thing we ask for is a copy of the contract and technical rider(s) along with contact info for the incoming artist’s tour and/or production manager(s). That information should be made easily available by the event's promoter, who should have received it from the booking agent or artist management prior to booking the event. The level of difficulty we encounter in obtaining this info is often a good indicator as to whether we are heading into a cakewalk or an uphill battle.
2. Confirm the Details: Once armed with the contract, riders, and contact info, we are almost ready to get to work on the event. But before we go any further, the first thing we do is reach out to the designated contact(s) and confirm that we have the right details and the most current documents on hand. The importance of this step CANNOT BE OVERSTATED as nine times out of ten we find at this point that we are NOT in possession of all the most current info. Since working from outdated documents could be a disastrous waste of time and resources - not to mention lead to very confusing and embarrassing advance conversations and possibly even a show-day debacle - we always take an extra moment to verify our info before we dig in.
3. Know the Plan: Once in control of the proper info - whether it’s a single page summary or a forty page agreement with multiple riders attached - we never assume anything is “standard”. We are always keen to read every line and take detailed notes. Knowing the expectations of the incoming artist and their staff is key to making sure that proper accommodations are made for their specific needs prior to their arrival. In our experience, most artists and their staff will notice and appreciate when their requests are honored, as it usually results in a smooth day for all. On the contrary, some will certainly act out negatively when their contract details are forsaken. From passive-aggressive verbal jabs to all out temper tantrums and even sabotage - it can get ugly. But backstage drama of these sorts is generally avoidable when all the basic points of the contract are known and respected.
4. Know the Venue: As the local production provider, it’s key that we know the venue we are using inside and out - from parking directions, seating charts, and dressing room facilities to electrical, stage, and technical capabilities. A quality venue will have this information readily available in a document called a “Technical Package” or “Tech Pack”. The tech pack is such a crucial tool to have on hand that whenever that info is not available to us - we usually take the time to gather those details and produce our own document. (But that’s another article for a future newsletter). Once we have the most current version of the venue’s tech pack in hand, we immediately share that info with the incoming artist’s reps. (Whether they choose to review it or not, is up to them. Once we’ve provided this information and offered to answer any questions, we’ve done our due diligence and we now have a leg to stand on should any disputes about our inventories or capabilities arise on the show day). BUT, we don’t stop there.
5. Identify the Potential Problems:
Once we know the artist’s needs and we know our venue, we earnestly attempt to forecast and identify any curve-balls that could arise from merging their production with our venue and/or equipment at that moment in time. This requires a bit of visualization - that is, thinking through every step of the process (IN ORDER) from start to finish - with the intent of identifying potential problems or conflicts - anything from parades, festivals, and sporting events to venue maintenance and possible weather events is considered. Any issues or concerns that arise are noted and prioritized for prompt discussion with the incoming artist’s representatives.
6. Communicate Clearly:
Once we’ve confirmed, analyzed, and learned the plan, scoped the venue, and forecasted the potential problems, we reach back to the incoming artist’s reps and start the dialog. The ensuing conversation(s) - whether via email, phone, video chat, or in person - are referred to as the “Advance”. While the word itself obviously denotes that these vital communications occur AHEAD of the event, there is at least one professional venue in London, England that once informed us that they don’t advance their shows until the morning of the event - HUH?!
In addition to the obvious condition of occurring PRIOR to the event - in our humble opinion - a proper advance should be:
A. Concise - Just long enough to cover all necessary details while still respecting everyone’s time.
B. Precise - Detailed enough to confirm all important variables and cover all foreseeable curveballs and concerns.
C. Conclusive - If at all possible, the advance should be singular in it’s occurrence - meaning all details are covered in one sitting without the requirement of constant follow-ups to cover small details left out the first time around. While it’s not a crisis if the conversation has to volley back and forth a few times, it can be a huge waste of time when the volley goes on and on, with info trickling in bit by bit. While we’ve seen pro shows advanced and re-advanced a half dozen times because of personnel, management, equipment, and budget changes on their end, the majority of difficult advances are generally due to lack of organized details and poor communication - both of which are preventable time and energy wasters.
7. Follow Through:
With all that detailed prep work under our belts, we sleep well at night knowing our event will go smoothly. Of course, when it’s finally showtime, we believe the final step is to follow through with timely, proper, and safe execution of all details on the event day - keeping the lines of communication open and positive from walk-through to lights-out. When we follow through on our end of the bargain, we not only provide the incoming artist and crew with the space and the tools they need to put on a successful show, we give them peace of mind and hopefully an enjoyable experience that they can, in turn, share with the audience.
8. Follow Up:
We always work hard to balance the artist’s requests with the venue's capabilities and promoter's budget. Consequently, we generally receive high marks from all parties. Regardless, we are committed to following up on each event to be sure that we are performing above expectations at all times. While we remain our biggest critic to date, we never want to miss an opportunity to grow in our work.
At Apaulo Productions, we can help to make your next contract event a smooth and enjoyable one! Let us walk you through our successful event advance and execution process! Our sound technical advice and experience are bound to benefit your event and will likely save you money, too!
*** Apaulo Productions provides only technical advice regarding event contracts.***
*** Please contact an experienced Entertainment Attorney for sound legal advice. ***
