Scott Adamson grew up in California and Iowa before moving to Chicago where he started a studio called Semaphore Recording. Eventually though, he determined that live music was much more exciting and began working as a house engineer at some legendary small clubs (Lounge Ax, Empty Bottle, Fireside Bowl). In 2006, touring became his primary gig.

Now based in New York City, Scott tours almost exclusively as a front of house audio engineer where he’s recently worked with artists like Haim, Portugal. The Man, Tom Misch, and Fred Armisen.

Perhaps most importantly, in addition to touring, Scott is also leading the way for the next generation of audio engineers with The Production Academy.

Follow Scott on YouTube and Instagram to see what he’s currently up to.

Favorite concert or live show you’ve attended as a fan (not for work)?

Touch and Go 25th Anniversary Party in Chicago

Is there anything you try to do every off day?

Tennis, when I can find a buddy to play with!

What is one to three must have work-related tool(s)? (Computer, gear, tool, phone app, etc.)?

Sony 7506 Headphones, since I know them so well.

Are there any standard industry practices that you’d like to see change?

The flippancy with which many artists handle money with their crew, especially when it comes to canceled shows.

Since you began working in this industry are there any concepts or practices you’ve implemented that have positively impacted your work (reduced stress, saved time, etc.)?

Being nice to people. This includes remembering people’s names for the work day, which I can only do by writing it down as they tell me!

Where do you see the industry going in the next 5-8 years?

I see a lot less traditional touring, where a number of trucks and buses drives around the country playing in every city they can book. More like playing multiple shows in one A market, then moving on to the next A market.

Post pandemic touring is different, and I’ve found it to be more difficult in some ways. What has your experience been so far?

At this point in summer 2023, I’m sure those differences are more noticeable for TMs/PMs. Now that the COVID testing has come to an end (mostly), it’s fairly similar for me. That said, last year there were a TON of tour stoppages — I was stuck in Nashville for a week last year when our tour tested positive. However, I think that has passed.

How much sleep do you actually get? And how do you manage sleep deprivation?

Not nearly enough. It is the biggest reason I want to wind down my touring workload. I don’t really believe there is a proper way to manage it, and my method of copious amount of coffee all the time isn’t recommended.

What improves your day at a show?

A good mix position and a well-tuned PA.

Our industry isn’t as glamorous as often perceived. What motivates you to work such long hours and be away from home for extended periods?

I grew up ferociously playing air drums to Led Zeppelin, so maybe I was just destined to be a music industry lifer. That might not always involve touring, but it’s always been about the music for me. It’s fun and exciting to be involved in a great show! Hard to find that adrenaline elsewhere.

What advice would you give to someone just starting their career in the live production industry (perhaps something you wish someone would have told you when you were getting started)?

Save as much money as possible, as early as you can start. Compound interest is a thing! Touring careers don’t always go for multiple decades, so having something saved when you’re ready to transition to something else makes that point in your life much easier.

What's the most essential thing in your suitcase?

As many socks as I can possibly stuff in there!