STORIES OF RESILIENCE: TO EARN RESPECT WE MUST FIRST PROVE OURSELF

Photo: @mandymillerphoto

*With very little going on in the live production industry right now due to COVID-19, I’m switching the focus of my blog for a while. I’m going to tell industry related stories, and maybe stories from some of my colleagues as well, of experiences I’ve had that impacted me in some way. Things I’ve learned while touring, and years of working in corporate production settings as well.

In my late twenties, I had a mohawk and looked closer to twenty than twenty-nine. As a touring sound person, my baby face was a cause for concern among some colleagues. A seasoned audio engineer has some wrinkles and often a grey ponytail. Regardless of age, mixing front of house for a touring artist typically proves expertise. This artist trusts you with their sound, their livelihood; you must know something. The expectations are even higher when working for a nationally touring artist, performing in front of larger crowds.
The first band I toured with focused on the Mid-West, where their folk-inspired rock was well received. The closer to home, the bigger the show. The State Fair, for example, was always a big event. Three nights of home town shows, a few thousand sweaty people drinking beer, eating something fried on a stick, and singing along. I loved my job.
Shortly after I started with the band, a promoter booked them to perform in a large venue close to home, capable of hosting over two thousand people. The place was built in the 1930s and had a massive, creaky, wood dance floor. And a small stage better suited for The Rolling Pebbles than The Rolling Stones.
I was relieved, however, to see a modern sound system. Although built to withstand very high sound levels, a nationally touring front of house engineer had recently blown some of these speakers. While losing the time and money required for repairs, the local sound crew had also lost their faith in touring sound personnel.
The sound crew chief said, "we don't let touring sound mixers use our equipment anymore." They denied me the opportunity to do my job. Disbelief, I knew they wouldn't say this to a "seasoned" mixer. Perspiration accompanied frustration, and my ego immediately had me in defense mode. What makes them assume I'm inexperienced!? I was also concerned. If this pro sound crew doesn't take me seriously, will the band I work for feel any different?
I had successfully mixed front of house audio for other large shows and was confident that I could do the same at this venue. I knew that arguing would prove nothing beyond a lack of professionalism, so as we loaded the band's backline into the venue, my mind raced for a quick solution.
After giving it some thought, my anger gave way to reason. The band I toured with was a household name in this area. And in the eyes of the local crew, I was a young, and for all they knew, inexperienced, audio engineer, looking to operate their recently repaired sound system.
My heart rate lowered with the realization that this wasn't personal; they were simply looking out for their best interest. This local crew had never worked with me, and it was up to me to prove myself. So, I offered a compromise. If they let me perform the band's soundcheck, I'd let them take over if I showed any cause for concern. If all went well, they'd allow me to mix that night's show.
Despite the local sound crew's initial concerns, the soundcheck went well. I was relieved to learn that this had given them confidence in my abilities, and they cleared me to work the show that night. This situation also made the band happy, knowing that the person they trusted most was now able to mix the audio. The show went great that night, the crowd cheered, and the bar sold drinks. All ended well.
In the months and years that followed, I continued to pass through this venue, working with the same local sound crew each visit. In the weeks leading up to one of these shows, I was surprised to receive a call from the sound crew chief.
As it turned out, the local audio crew had been double booked on the night of our scheduled performance and were unable to make it to the show. He called to ask if I'd be willing to turn the sound system on when I arrived and run the show without any local crew on site. I assured him that I could indeed take care of it.