Live Sound Now

 

Touring Overseas – for North American Technicians

I’m always amazed at how many touring technicians I meet that have only toured in N. America. Sometimes that’s the result of where the fans and the sales are for specific artists but it’s a shame to ignore the potential for touring outside of N. America. The rest of the world is very much larger than the N. American market so it has the potential for a lot of growth in fan base, music sales and live shows. It’s also a very enjoyable experience and adds to your technical and life knowledge along the way.

Here are some of my observations about how things are different, how they can be the same and what skills and knowledge you will need to navigate a world of different languages, cultures and legislation.

Passports & Visas

All international travellers need a passport and it should not be due to expire in less than 6 months. Visas vary significantly for working crew. Europe generally needs a simple

on-line application and a small fee, Most Asian countries, Australia & New Zealand and some Latin American countries need a full-on application at an Embassy or Consulate and require passport submission to get a visa embossed into your passport. This is artist and tour management level organisation for a tour and is best served by a lawyer that specialises in getting visas.

Language and Culture

Culturally most countries have different social dynamics than what you may be used to. North Americans are usually very direct and can be very off-hand with their interpersonal communications. In most European, Asian and Latin countries that is considered to be extremely rude and unfortunately touring technicians often get tagged with that “rude and arrogant” label. Fortunately it’s extremely easy to overcome that difference by adopting a couple of simple rules.

a)         Learn how to say “Good Morning”, “Good Afternoon”, “Please” and “Thank You” in French, German and Spanish. I suggest you preface all conversations with the appropriate phrase, it’s not hard and those three languages cover a lot of ground.

We always practice in restaurants, the staff are usually up to gaming the clients

b)         If someone doesn’t understand your instructions or communications don’t start shouting, the crew will quit if you do so. Instead find a person who can understand and interpret what you want to say.

(Funnily enough I find that using this “well mannered” approach with North American IATSE locals can get you some cooperation and respect, even amongst the toughest ones. I did say “some”.)

Most Europeans in major centres speak English as a second language, this can be true in Latin America as well. However you will find that if you go to smaller centres there will be a lot less people who are that well educated.

Technical support and gear rentals

Every country I have ever been to has a professional audio, stage lighting and video infrastructure. In some parts of the globe the choice of suppliers and gear may be quite limited but there is gear. I encourage every Production Manager to at least ask some questions and get quotes from local companies before defaulting to the major global companies who are usually extremely expensive in comparison to the locals. Remember that taxes are usually not included in quotes and can be very high e.g. a VAT rate of 25% applies to all sales and rentals in most Scandinavian countries.

Make sure to specify English speaking technicians, there is usually at least one lead technician who speaks English, even in less common Asian countries.

The make and models of major equipment types is usually similar in selection as in N. America. Where those choices differ will be in how much is available e.g. most European companies will have L’Acoustic, d&b, Meyer or Martin speaker systems along with Digico, Soundcraft or Midas desks. JBL speaker rigs and Avid desks are less common and so are become a cross rental for a lot of audio companies. Latin American and smaller Asian countries may have somewhat older gear.

Stage Hands and local crews

There is no IATSE or similar labour organisation in Europe or Asia so local hands and crews tend to be diverse and can be very variable. Generally there tend to be two different kinds of stage hands and local crews depending on where you are. Common in main land Europe are local hands that are hired by the venue or promoter as employees with good wages and full social benefits. These are professionals and as good as the best you will find in N. America.

However this is a very expensive option because of stringent labour and social security legislation throughout the EU. Many Asian countries have similarly well trained local crews even if the labour laws are significantly different. 

The other kind of local labour is pickup crews, paid in cash, usually contracted through a third party handler or subcontractor. Often these are immigrants or pickup labour, not very skilled or experienced, often there will be a few who don’t even speak the local language let alone English. Usually they are hard working but results can be very mixed. I have found that these crews need constant attention to ensure that they understand what you want and don’t endanger others or themselves. It is important to make sure that the crew at the load in is actually coming back for the load out or that there will be enough labour for the load out. On the load out be very wary of drunk or impaired loaders.

Note that the house crews are only there to protect the house equipment, commonly they are not very helpful and will not assist with loading or setup.

Travel

There are fleets of tour buses, commonly called “DreamLiners”, available throughout mainland Europe, some are available in Latin America but are less common in Asia or Australia. It is common in Europe and parts of Asia to travel by train or some hybrid of air travel and train travel. Trains are very fast and usually much quicker, centre to centre than flying. In Australia it is generally air travel, even if the gear is trucked. Australian highways are rough and distances are very long. Don’t be surprised to see Australian drivers shimming gear in their trailers to make sure the load doesn’t shift during long haul drives.

Catering

Generally there are three kinds of show catering. Tour caterering that travels with the show and carries their own equipment and supplies, local restaurant catering and take out. Venue catering is much less common because of stringent fire regulations in most venues. Sometimes it is really hard to get specific answers from local promoters as to how the catering will work if you are not carrying your own. Tour caterers may need to be prepared to setup outdoor kitchen areas if there are no facilities at the venue.

 Communications

Most N. American cellphone packages do not include roaming outside N. America, if they do it is usually an expensive add-on. In Europe it’s inexpensive and easy to buy a local SIM card, with data roaming, and to use web based apps. What’s App is probably the most popular, likewise in Latin America. You can often buy SIM card packages at the airport when you arrive although you may get asked for ID and have to register with the telecoms supplier. Some countries are not as flexible and you may be relying on local internet services a lot. I use Skype a lot because you can call cell phones and land lines and so are not dependent on Internet access for the person you are calling. Depending on the package you get from Microsoft it can be a very inexpensive way to call other continents, handy when you have to advance shows on the other side of the world. There are other products out there that have similarly useful features.

Personal Security

Some countries are more physically dangerous than you might be used to, especially in big cities. In Europe pick-pockets are everywhere and very skilled, I suggest zippered pockets and hidden money belts for your cash and credit cards. Shoulder bags and fanny packs are targets. City centres should be avoided late at night and if you are going out looking for entertainment, take a companion or two with you. In parts of Mexico and  Latin America it is inadvisable to drive at night. Usually your local contacts, promoter rep, venue managers etc will advise you on any local security issues.

Venues

If yours is the kind of act that does mostly theatre tours  then you are in for some surprises, some very pleasant, so not so. Many southern European theatres are extremely old, difficult to get a truck to because of narrow, busy cobblestone streets.  The audience areas are often restored and very beautiful but the backstage areas can be quite primitive. Many north European theatres are very modern and easy to do a show in.

Arenas tend to be more modern and comparable to those in N. America. However beware the bullrings in Spain and Mexico, usually old, gravel or sand floors, smelly and sometimes hard to rig in.

Summer festivals are often on historic sites e.g. the Heroditus Ampitheatre in Athens, made of stone and marble and extremely hot in the summer time. Several of the more “historic” venues require a truck cross-load because of structural barriers. Most will have house audio, lighting and video gear but some venues require you to bring everything with you. Ask lots of questions when advancing!

Note that most festivals and many venues have clearly posted SPL restrictions and measurement equipment to enforce them. Excessive SPL and continuing breach of the restrictions can result in an instant and heavy fine against the show.

Show Day

In southern Europe during the summer shows tend to start much later than you may be used to. I’ve done shows in Southern Spain that started at 11:00pm and don’t finish until 1 or 2 a.m. This is mostly because of the daytime heat and to give people time to finish work, have supper and then go out. When advancing be aware that most of southern Europe is used to 2 hour lunch breaks during the hottest time of day. That means you may have to start your setup earlier at, say, 10a.m. instead of noon, break for lunch 2pm to 4pm and resume after lunch. You will find many retail stores close during those hours as well.

Again, ask lots of questions when advancing.

Summary

Local cultures and social behaviour are significantly different from North America and it helps you get the job done if you adopt the local norms.

Visas can be a significant issue and you will likely need professional help to get them all sorted.

Technical support is usually of a reasonable standard; sometimes the gear maybe older than what you are used to and some common North American brands maybe harder to get.

Venues vary a lot, depending on the size of your show. Some require a lot more work and more hands depending on things like having to cross load, narrow cobblestone streets and restricted access hours.

Scheduling can be significantly different from what you are used to. Ask lots of questions when advancing and make sure to check how the locals make up schedules.

Most of all, relax and enjoy yourself. Food and wine are fantastic in most European, Latin and Asian countries so don’t be afraid to try new things.

Bon Voyage !

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                                                                                                © Clive Alcock 2023