Music Fans Die For Their Favorite Artists, Literally.

In the music industry, the business of live events should as much about the music itself as it is the safety for those that attend and work the shows. In a public gathering spot, charging entrance to an event or free; concerts, sporting event, fairs, theatres, clubs or bars bear the responsibility to ensure as safe of an environment for the fans and indeed anyone involved in the show, as possible at all times. Planning and execution of a live event, any live event, should be done with public and worker safety at the forefront. Since the start of the 2000s, there has been a record number of show attendee related injures and even deaths.

Starting with the most recent tragedy for nightclubs, in Brazil, the KISS nightclub, a local hotspot for teens and college students caught fire after the band’s pyrotechnics ignited the insulation foam over the stage, this toxic and quick burning fire quickly overtook the crowd, who in trying to escape had one exit, bouncers unaware of the emergency and no time to get out leaving 256 dead. Perm, Russia December 5, 2009, at a club known as the Lame Horse, again another incident of improper pyrotechnics used in a low clearance building, unsafe materials over the stage, causing the fire to ignite and spread at a rapid rate, while spewing highly toxic fumes. The patrons tried to flee, however 109 died in the fire and many others suffered injury due to the fact that the club’s only lit exit was the front door. Republica Cromnon nightclub in Buenos Aries, Argentina, December 30, 2004, 194 people killed after a firework ignited the foam ceiling, fire exits where chained shut, and no working fire extinguishers.

The one that left an indelible mark on the States is the tragic fire at The Station nightclub in West Warrick, RI on February 20, 2003. The 80s rock band, Great White was scheduled to perform as headliner at the club that Thursday night. As the band’s set started, their tour manager Daniel Bichele, ignited the band’s pyrotechnics with total disregard to the size of the building, type of acoustical and insulation foam that was over the stage and ignoring the possibility that these fireworks might be too much for the space. That night, 100 people lost their lives and another 200 were injured due to negligence, on the part of the band and their crew, those in charge of the venue that night, and also the club’s owners and city officials that allowed the building to stay open despite the fact it was in violation of multiple fire codes.

 Disregard for human safety is the dark side of the music industry, one that must be brought into the light and held accountable. Criminal charges where filed in all cases with mixed results. For The Station tragedy, the band itself maintains their innocence, while Bichele plead guilty to all charges and served four years of a fifteen-year sentence. The club’s owners also served lightened sentences, or not at all, and not one member of Great White has claimed any responsibility to date. Also many civil suits followed with the list of named defendants lengthily, from the club owners, to the city and state governments, the makers of the foam, the ones that sold it, even against JBL for the foam in the speakers and the concert promoter, as the show was sponsored by the local radio station owned by broadcasting giant, Clear Channel.

Later years brought more tragedy in the form of staging and roofing collapses. August 1, 2009 tipped off the new wave of issues at the Big Valley Jamboree Festival in Alberta, Canada, leaving 40 injured, and one dead. July 17, 2011 at the Ottawa City Blues Fest, the band Cheap Trick was in the middle of their performance when a storm that had blown up took a turn for the worse. Literally seconds before the roofing of the stage was blown backwards, the band had decided mid-song to leave the stage, and as they did, it came crashing down on them. Taking the brunt of the initial hit was the band’s gear truck parked behind the stage that was crushed by but gave the band time to get free of the stage and allow the roadies just enough time to clamber up and grab equipment. Though the band and most of the crew escaped injury, a few did not including their truck driver and another stagehand. Then on June 16, 2012, a temporary roof and stage setup for a Radiohead concert in Toronto collapsed prior to show opening, killing drum tech, Scott Johnson for the opening band the BBC. There where no adverse weather conditions however in Toronto that day, and there is still no official ruling to date on the cause of the roof collapse.

Aug. 6, 2011, high winds toppled a lighting rig at an outdoor concert by the Flaming Lips in Tulsa, Oklahoma, followed by the tragedy at the IndianaState Fair when the roof blew off just prior to the band Sugarland taking the stage, killing 5 and injuring many more. Again, in each of these cases, a set list of things go wrong prior to the show start or to anyone getting on those stages. Safety checks and inspections on the structures for internal integrity were not performed or not up to standard, weather conditions where not taken into account and the calls were not made early enough to prevent injury, and also, the roofing was overloaded with lighting and audio, on truss not wind rated for the kind of poundage that was strapped to them, causing them to tip in high winds.

Through all of these, fingers have been pointed, some charges filed on many parties, and civil lawsuits abound. In some areas, the state and federal laws have been updated to include new safety measures for venues and other places of gathering, however, it’s not enough, indeed, some say it’s too little, too late. Advocates, such as Paul Wartheimer of Crowd Management Strategies published a list of 14 questions that he believes should be used as reference prior to starting any outdoor live event. He also sites many other lessons that are to be learned after any large crowd disaster, citing the state fair as the most recent, but applying to all, “A lack of comprehensive local, state and national safety laws and standards; an appalling lack of competent event management and staffing; a failure to enforce or comply to safety laws that do exist; and the failure to hold parties criminally responsible for preventable crowd disasters,” says Wartheimer in his follow-up article, The Indiana State Fair Tragedy One Year Later: What Happened And What To Do Now.

Going forward however, it is the responsibility of everyone involved in show production to be safety minded first, foremost and always. Communication with all staff connected to the event is vital, and must stay up to date. There is no room for pointing blame when lives are being lost, all in the name of a good time. Fans that thought they would get to see the show of their lives and instead gave their lives to the show. This cannot be allowed to continue, the days of “it’s not my job” are long gone, and the person that doesn’t speak up about potential problems is just as guilty as the person that ignored them. 

Tampa Bay Area Crew Remembers Their Fallen Brother

While this business of entertainment will always remain a business, to those of us in it, especially the crew, we are a family. We share good times and bad, we hold each other up when we fall, and together we mourn and grieve when we loose one of our own. Last Monday, February 18, 2013, word spread through the backstage A/V community like wildfire that one of our own, Timothy “Tim” or “Timmy”Taraldsen had passed in a horrific car accident, leaving us all stunned. While the details and legalities surrounding it will be a tale told later to the proper people, for us, what remains is the reminder that yet again, life is very short, and the ones that come into it are there for a reason, and we must treasure every moment with them that we have.

Tim got his start in the industry at the young age of 18, working out of St. Petersburg, FL and then later for Turn of the Century Productions, teaming up with the young Ozzy Giron, first as shop guys, and B crew workers, busting butt at local venues around the Tampa Bay Area. According to Ozzy’s wife and life partner, Laurie Giron, “Tim and Oz quickly built a reputation as inseparable brothers, even looking the part by dressing alike.” Both got their big break in 1989 with a chance to go on the road as techs for Wayne Newton, later taking over entirely with Ozzy at front of house and Tim on monitor deck. After that tour, Giron says that “taking off like crazy” described both of their careers, with Tim and Ozzy touring with some of the biggest names in music.

When you tour like that, sharing the same space, the same schedule, literally everything, a family unit develops, one that is so very special and not easy to understand if you’ve never personally experienced it. The artists and all that travel with them, they weren’t just clients, they became family especially to Tim. “Living with someone on the road is like a marriage except they don’t judge each other,” says Giron. She also describes Tim as not just a friend, but also a brother, and her husband’s rock n’ roll soul mate, “Miles may have separated them with different tours, but an airplane ride away was home, and Tim always meant home to the Giron family, always will.”

Later in his life, Tim settled back down here in the Tampa Bay area, but still staying very active locally, working with many Bay area crews over the years. ESI Audio in particular was one of his local home bases, and he was often seen around the shop and at gigs causing mischief, working on gear and as always, working the boards. A show with Tim never had a chance to get overly intense since he was always the first one to crack a joke, and as ESI head systems tech, Rick Soukup put it, “Timmy’s answer to any concerns or issues that popped up was always the same, ‘No worries my friend’, and then he went and solved it, he always found a way to make it work.”

The Tampa Bay area crew has lost a talented community member, a loss that will echo through the halls of every show we set up, because as Tim well knew, the show must go on, but we will never forget our friend, mentor and family member.

Where Do We Go From Here?

Today’s indie artists are facing a unique problem in the music business. The hold of the big record companies has been broken, and new conglomerates not interested in artist development, are also not interested in giving out recording contracts. This leaves unsigned artists in a quandary. “In the late 1960s and 70s, artists were allowed time to experiment and try new things which helped them find their voice,” says David Polemeni in his article for Music Biz Academy.com. However, artists today don’t have that luxury on the record company’s dime, which Mr. Polemeni confirms in his statement, “Today the artist has to walk in with the masterpiece and so the importance of development before you present to the industry is even more crucial.” Where do we go from here? Where do we start? Today’s A&R doesn’t want potential, they want what is already selling and established, making it crucial for everyone to bring their A Game.

No one knows this better than Adam Shaw, Artist Manager for Steady Riot Management. He’s also solely responsible for day-to-day operations and management of the career for the band, The Drowning Men. From handling their daily needs, future appearances, endorsement deals, and all other aspects of managing a band on the rise, he is also a rising star in the industry, in his own right. Hailing from Plymouth, Massachusetts, home to a diverse musical subculture in the 1990s, and a short jaunt from Boston, the long-time home of American rock and roll, Shaw describes the era as a time when “Kids were owning their music and in love with their music.” That passion for the music and the desire to stay connected to the scene led him to Northeastern University in 1996, where he studied music business administration and worked part-time for a local venue on the weekends. Eventually he worked his way up to full-time and later dropped out of college to better pursue the music side. While he readily acknowledges there were lessons learned through the school of hard knocks, he eventually understood that while music is an art form, it should be considered first and foremost a business. Aspiring artists and other industry start-ups don’t often grasp this vital concept, and overlook its importance. Stepping out of his role with the venue for awhile brought him to a new level with Boston-based Lost City Angels as a drummer, where he quickly garnered local and regional attention, and later an opening slot on tour with a major label band, The Living End. According to Shaw, more hard lessons followed as the band took on the challenge of being road warriors seriously. He toured with them almost non-stop from 2001-2005, however, his venue experience still stayed in the background with no real connection until later. He eventually tied all of his experience together into his next step, as he could see the band’s eventual demise and described it as, “One of those things you can’t do anything about, your hands are tied and you have to let it happen.”

When Lost City Angels disbanded, their former manager, who had been Shaw’s confidant and ever increasing source of information and guidance during the Lost days, approached him with an offer for managing a band. Still operating from the East Coast and working again for his original venue, Shaw fully embraced the world of artist development and management. He describes it as a “crash course in management learning as I went along.”  The next year and a half was spent progressing the band from regional fame with good potential, to fully signed artists on their way to the top. His decision to again step back from artist management was another learning experience in the industry. Signing on first as drum tech, then working his way up to production manager and eventually tour manager for the Mighty Mighty Bosstones was his biggest and best learning experience to date. He learned not just from the touring and hands-on, but from the band members themselves. After finishing with the Bosstones, returning to venue management on the East Coast didn’t seem like the best way to keep his momentum going. On a whim, with a lot of hope and fingers crossed, he packed up his family and headed to California. Initially working out of his garage, scouting venues, acts and making his name known landed him a gig working show productions at a venue owned by a member of the group Flogging Molly, in Carlsbad, California. This is where The Drowning Men were first brought to his attention. His initial impression from the 5-song demo wasn’t the marketable sound he was looking for, but trusting his instincts, Shaw booked them for a show at the venue. The difference between the demo and their live show was a total 180 degrees, and he describes his first experience of their live show as a defining moment. “The EP did not capture what they were capable of when they were live. On stage, they poured every ounce of their being into this amazing show,” says Shaw. The rest, as they say, is history. With the band now on their third release, All Of The Unknown, this put the finishing touches on their plans for a European tour starting in the next few months and running until fall.  

From all his experience, Shaw shared a few nuggets of wisdom for successful band management. “Back in the day, that record contract with a major label was the big dream, what everyone strived for, but we don’t have that anymore. What’s amazing now, is that a band can be their own label, keeping 85 percent of the profits instead of the micro amounts of the past.” This flexibility, coupled with the advent of social media, and a greater variety of options, helps any band and their representatives control and conduct the path of their careers like never before. His formula for getting signed is simple, “Have an amazing live show, have that great recording, have that all-out passion for the music, and be willing to do the hard work that goes with it.” He also stated that a band has to be able to see through the glitz and cut to the bottom line when dealing with the business. Connecting with the fans, developing that fan base, and converting them, “one person at a time” is what will get talent to the next level. He cautions however, that management must be ever wary and watchful as an external party for any internal band problems. Stating that as a manager, “You have to step outside of yourself, see the problem approaching before it blows up, use that external perspective to see it happening, then take it 100 percent head on, deal with it and be honest.” He prefers to keep the core band in their own bubble, while at the same time foster the camaraderie between the members. Always remember at the end of the day, the music is the most important, “The music is why we are all here in the first place, that can never be forgotten.” Citing his previous experience in the industry, and first-hand experience as an artist are what makes him most effective in his role as manager. His final words of advice, “It’s a marathon before you get to the sprint, so get ready to run.”




The System Is The Business, And Business Is Good!

Today’s struggling economy has forced all of us to rethink how we do things and to conserve funds in every way possible. Instead of buying that big V-8 car or truck, people are snapping up the new hybrids like crazy, shopping for the best deals available. The same applies to the music industry, especially in the business of live sound and touring. As the days of the big tours and all the gear that follows them are dying off in search of more cost effective ways to achieve the same result without the transportation expenses, regional sound companies are rising to meet this new challenge. One southeastern company, Tampa, FL based ESI AudioProduction Services, stands out because of its

unique approach to the business of sound. Founded in 1989, this company now in its 24^th year has grown from a small minimum investment set up, to a sprawling warehouse that takes up most of a city block, with more plans for future expansions in the works. Propelled forward by the concentrated efforts of Erick “Otto” Celeiro, President and Patrick “Pat” Clark, Vice President with the later additions of Ozzy Giron and Mark Thompson, the core base was complete and the system that is ESI began. It is this system that is the basis for every principle that is applied to their business practices, and it has served them well.

Having a chance to sit down with V.P. Pat Clark gave a much clearer perspective to why this company truly stands apart from anyone else. The founding members began their industry experience in the Tampa Bay area, affording them the opportunity to build over time, vast networks. This was the basis for the business, already seasoned veterans with many years experience and knowledge in all aspects of the industry, using personal relationships with existing strong foundations to work from as opposed to the standard marketing and advertising route for building clientele. When the health of already established relationships dictates every business deal made, it changes the experience for everyone. Working from the idea that anything that has the company name on it from gear to crew must maintain the highest level of professionalism at all times has established a firm and loyal clientele. When the gear goes out the door for a show it is fully tested, everything double (sometimes triple) checked, and ready to go right out of the truck. Same for the crew, they know what they are doing, don’t damage equipment, and hold many records for quickest and most efficient load in, set up, strike and load out for multiple national acts. ESI’s practice of using industry standards as a starting point instead of the top marker is evident in every show.

When dealing with clients Mr. Clark remained adamant that the highest priority is the relationships with people, remembering that pushing for a higher deal might pay off in the short term but for the overall health of the relationship, the long term pay off is always more important. As an example of this, he cited a show late last year, outdoor festival with big headliners that had to cancel due to dangerous weather conditions. The promoter who is a long time client and friend to the business, and the tour company that is a new relationship still being fostered, where set to loose big money from the sudden cancellation. Realizing both his chance to further strengthen his relationship with one and go a long way to building it with the other when approached, they reached an agreement on the spot to reduce the overall impact of the loss while the company still broke even. Helping everyone to save face and not have a deficit was the best way to ensure a bigger return in the future dealings.

Taking the time to get to know the people behind the business deals, to really get a feel for what the client’s needs are, then staying on top of every event with precision gives a mutually beneficial result and builds a reputation that now speaks for itself. Identifying potential problems early on, proper planning and flawless execution follows, ensuring everyone is satisfied.  There is no positional bargaining in the world of ESI, and that lack of “haggle” makes for much smoother and happier business dealings all around. This also avoids most chances for so called “dirty tricks” people play in negotiations or contractual situations. Again, this company doesn’t play the games of others but instead changes the game by eradicating the potential for dirty tricks and underhanded dealings. The system of money up front, first foremost and always takes away the possibility to almost nothing that there will be problems over payments or contracts not honored. On the rare occasion attempts have been made to breech contractual obligations, Mr. Clark again leaves no room for debate and advises to always have excellent legal council on your side to handle the ones that choose to learn the hard way.

Ultimately though, the emphasis and focus remains on relationships and the people in them, those within the company and those that they work with, which provides for it’s unique and successful approach to business and the negotiations that go along with it. What started out as a formula and blue print twenty-four years ago is now a force to be reckoned with, from which much can be learned for the next generation.