bernie boyle tour manager

Bernie Boyle | Legendary Tour Manager The Career Musician

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What do The Beatles, Michael Jackson, and Paul McCartney have in common? They all called upon legendary tour manager Bernie Boyle to get their tours on the road! Check out the Career Musician featuring Bernie and his illustriously entertaining anecdotes! @thecareermusician @nomadsplace 🖥 THE CAREER MUSICIAN WEBSITE: https://proseries.thecareermusician.com/ 🎧 LISTEN TO THIS PODCAST: https://tinyurl.com/TCM-Podcast-MainPage https://tinyurl.com/TCM-Apple https://tinyurl.com/TCM-Spotify https://tinyurl.com/TCM-iHeart https://tinyurl.com/TCM-Stitcher-Pod https://tinyurl.com/TCM-GooglePodcasts 📱 FOLLOW OUR SOCIALS: https://tinyurl.com/TCM-Instagram https://tinyurl.com/TCM-FBPage https://tinyurl.com/TCM-YouTube https://twitter.com/CareerMusician https://linktr.ee/thecareermusician #careermusician #careermusicianforlife #musiccareer #pantheonpodcasts #podcast #musicpodcast #musicpodcasts #music #musician #musicians #musicianlife #musicproducer #producerlife #composer #sessionmusician #sessioncat #studio #studiomusician #recordingartist #touringmusician #roaddog #grind #hustle #education #musiceducation #musicschool #musicmajor #musicindustry #musicbusiness #musicbiz #industry #business #worldwide #megaphone #megaphonepodcasts #podcastapp #podcastsapp #apple #applepodcast #spotify #spotifypodcasts #iheartradio #iheart #sticher #googlepodcast #ratethispodcast Learn more about your ad choices. Visit megaphone.fm/adchoices

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ELO hits Mr. Blue Sky and more: The Orchestra plays Fort Myers with SW FL Symphony

Electric Light Orchestra fans know him as “the guy on the blue violin.” And Mik Kaminski’s been rocking that blue electric violin onstage for five decades now ― both as a member of ELO and later spin-off bands ELO Part II and The Orchestra.

He no longer plays the exact instrument he used on ELO symphonic-rock hits like “Mr. Blue Sky,” “Livin’ Thing” and “Evil Woman.” But you better believe he’ll bring another blue violin this weekend when The Orchestra plays two shows with Southwest Florida Symphony.

“I’m just known for it now, honestly,” Kaminski says.

The British violinist is the only The Orchestra member who also played in the original ELO with singer/songwriter/mastermind Jeff Lynne . Kaminski joined the band in 1973 and played on most of the band’s ‘70s hits.

The other The Orchestra members include former members of Electric Light Orchestra Part II , the band created by two former ELO musicians in the late ‘80s. Kaminski was also a member.

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Together, The Orchestra will faithfully recreate the sound of ELO’s best-loved hits onstage in Southwest Florida ― all with the added power and emotional weight of a symphony behind them.

“It really expands everything,” says Kaminski, 71, of Yorkshire, England. “It gives it a different dimension.”

The Orchestra and Southwest Florida Symphony perform Saturday, May 6, in Fort Myers and Sunday, May 7, in Port Charlotte. Here’s what else Kaminski had to say about ELO, “Mr. Blue Sky” and why he plays a blue violin:

Did ELO play a lot of concerts with orchestras?

Not really, Kaminski says.

“ELO never played with a full symphony orchestra,” he says. “We recorded with one, but we never actually played live with one.”

Rock bands just didn’t play with live orchestras in the ‘70s, he says. “I think the logistics would just be too much to cope with really, back then. … To get a full orchestra with a band and open amps and everything else, it would’ve been a tricky job.”

Technology has advanced in the last few decades, though.

“Technology kind of figured it out,” he says. “It’s still not easy, but it’s a lot easier than it would’ve been back then.”

What was it like being in Electric Light Orchestra with Jeff Lynne?

Kaminski joined ELO in 1973, just three years after the band formed in 1970. They hadn’t even started bringing orchestras into the studio yet.

“Honestly," he says, "on the first album I played on, it was just myself and one cello player."

But Lynne used studio magic to expand the sound of that small string section and make everything sound bigger, he says. “It was a challenge, but we got some pretty good sounds out of that, really. ... Jeff was in charge and he knew what he wanted.”

Kaminski says he didn’t work too closely with Lynne, the band and orchestras in the studio. They’d go in and record their parts separately, and it was usually just Kaminski and two cello players in the studio.

“We’d put those parts down on our own," he says. "It would have been too much chaos if he was asking us to record all at the same time.”

How does Kaminski feel about 'Mr. Blue Sky'?

ELO’s best-known hit is probably the much-loved rock epic "Mr. Blue Sky." The song has appeared in TV commercials, movies and other places.

“You go in the supermarket, sometimes, and it’s played in there, too. You can’t get away from it!” Kaminski says and chuckles. “But it’s one of our favorite songs to play now.”

No one knew “Mr. Blue Sky” would be such an enduring hit, he says. “When you actually record it, you never know how well something will turn out. So it was sort of a pleasant surprise when it was so well-received.”

That’s why it’s so fun to play live.

“I think the audience reaction takes it to a different level, really,” he says. “The opening chords start, everybody gets up dancing and starts singing along.”

How close does The Orchestra get to the sound of original ELO songs?

"I think we get pretty close,” Kaminski says. “I mean, we’ve got three very strong singers.”

Sure, there’s no replacing Lynne’s distinctive voice. But Kaminski says the band’s singers can more than handle the songs.

“Eric Troyer, he was a session musician with John Lennon and Bonnie Tyler and Meatloaf and Billy Joel,” he says. “He’s a pretty cool singer.

“And there’s Parthenon Huxley and a guy called Glen Burtnik, who’s done every Beatles song you can imagine (he played Paul McCartney in the Broadway show “Beatlemania”). Between them, they certainly get the vocals right.”

Why did Kaminski start playing a blue violin, anyway?

It was completely by accident, he says.

“Back in the ‘70s, we had a tour manager called Bernie Boyle,” Kaminski says. “And he said, ‘You’ve got to get an electric violin.’ We just had a pickup on an acoustic violin to start with. So he said, ‘I’ll sort it out.’”

Boyle went shopping for an electric violin one day and found the choices limited at the store.

“He said, ‘I need an electric violin,’” Kaminski recalls. “And they said, ‘We’ve only got a blue one.’ ( Laughs ). And he said, ‘That’ll do.’”

Now, of course, everyone knows Kaminski as the guy with the blue violin. There’s even an ELO Part II song called “Blue Violin.”

Kaminski doesn't plays that original violin anymore. But whatever he plays, he makes sure it’s his signature color.

“It’s still blue,” he says. “I’m still getting them painted blue.”

Connect with this reporter:  Charles Runnells is an arts and entertainment reporter for The News-Press and the Naples Daily News. For news tips or other entertainment-related matters, call him at 239-335-0368 (for tickets to shows, call the venue) or email him at [email protected] . You can also connect with him on Facebook ( facebook.com/charles.runnells.7 ), Twitter ( @charlesrunnells ) and Instagram ( @crunnells1 ).

What: The Orchestra and Southwest Florida Symphony

When and where: 7:30 p.m. Saturday, May 6, at Barbara B. Mann Performing Arts Hall in south Fort Myers; and 4 p.m. Sunday, May 7, at Charlotte Performing Arts Center in Punta Gorda

Tickets: $27-$108 in south Fort Myers, $39-$51 in Punta Gorda

Information: For tickets and more information, call 418-1500 or visit swflso.org .

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Legendary Tour Manager | Bernie Boyle EP. 4

Summary: What do The Beatles, Michael Jackson, and Paul McCartney have in common? They all called upon legendary tour manager Bernie Boyle to get their tours on the road! Check out the Career Musician Podcast featuring Bernie and his illustriously entertaining anecdotes!  Discussion points include: The very beginning Hearing The Beatles for the first time and working as their “gopher" Lifting organs for John Mayall and The Bluesbreakers to becoming a tour manager How the '60s and '70s compare to today When the music industry started to go sour Tour Essentials Airline problems   Doing things yourself to make sure they’re done correctly  Health and keeping it up on the road Words of Wisdom for aspiring CAREER MUSICIANS   

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Tour manager profile – john warren.

Is there anyone you’d like to work with someday before you retire from TM’ing?

Honestly, I have been very fortunate to have already worked with so many artists and support people that I have admired and respected my entire life, that if I retired tomorrow I would be very content and happy. I guess if had to chose one …. it would be “Spinal Tap” .. I mean, come on … who would ever turn that down!!!

What do you do when you’re off the road?

I am not sure I understand that question … what is this “Off the road” you speak of????!!!!

Do you have any GO-TO food places while touring?

I am always a fan of seeking out the local culture and neighborhood “Local” hangs. I like to go wandering and find the place that “Smells Good” and has a good vibe, I do keep a database of good finds for future reference. (Note to Master Tour… Might want to add restaurant database … just say’in). Of course, Starbucks around the globe is always a comforting “Home” beacon to find especially when you are abroad, I know its not the best coffee / tea out there but’s always a nice connection when you get home sick.

How long have you been a tour manager? How did you get your start?

Hmmm … I guess 20+ years now. I started as a Keyboard Tech in the late 70’s. I just paid attention, asked a lot of questions and learned by watching and by example from my peers. I eventually started Stage Managing, and then graduated to Production Management and Road & Tour Management. Since most TM jobs entail settling shows and tour accounting, I learned that too, starting on the club level and working my way up-wards.

Who have you worked with in the past?

As I said Above I have been very lucky to have worked with some of the greatest people in this business: Currently: The Lumineers, Bonnie Raitt, Jackson Browne, The Dead & their Various side projects (Further, Phil and Friends, Ratdog), Lady Gaga, Trans-Siberian Orchestra, Carole King, Brian Wilson, The Beach Boys, Crosby, Stills & Nash, The String Cheese Incident, Keller Williams, Keb Mo, Taj Mahal, and many others going way back. I affectionately call it the “Granola Circuit” .. well except Lady Gaga … LOL! It has been so very good to me all these years. I was a Crew Member with most, not all, of these artists and worked my up in their organizations.

What’s the best venue to play in?

Coming from a Tour Accountant point of View .. any one that’s Sold Out!!! Settlements are always more fun when the seats are full. From a Fan point of view I would have to jump on the collective Band Wagon and say Red Rocks, it’s like a second home to me.

What’s the best city to have a day off in, besides Chicago of course?

I do love Chicago …. Great Food and Great People … All in All though I would have to Say Tokyo is # 1.

What the best advice you can give to a tour manager just starting out?

– Don’t be afraid to ask ask questions ( I am still learning out here)

– Always own your mistakes and learn from them.

– Learn to separate your personal emotions from your on tour ones, I have been yelled at by more than one artist, it’s a hard life out here for everyone and you need to be the calm voice of reason in it all. It’s a tough skill to learn, but all of the best TM’s have it and that’s what makes them the best.

– Get on top of your accounting game. Most TM’s are expected to settle shows these days, learn about foreign tax, develop a strong relationship with your business management.

– A Great Travel Agent is your best weapon, one that understands your Artists needs and quirks.

– If you haven’t come up from the crew realm … get a good handle on the basics of production, this way you know and understand the needs of your crew. Listen to them.

– TAKE CARE OF YOUR CREW!!! Don’t forget your Bus and Truck drivers …. Those folks are the backbone of your tour and your support. (Remember where you came from) This is where things like Mast Tour Mobile are essential to today’s touring. You can now keep your people informed 24/7. No more paper day sheets to get lost or tour books that we find under bus cushion or jammed in a workbox. My Tours are all now 100% paperless and 100% Master Tour driven when it comes to information distribution.

– And of course always have Master Tour open on your desktop 24/7

Who’s your mentor in the business?

There really isn’t just one for me, I learned from all of my TM’s as a crew member, I was surrounded by the best of the best in my formative years, Chris Littleton, Tim Bernet, Bernie Boyle, Mike “Coach” Sexton, Chris and Tim Lamb, these were all guys that I looked up to growing up in this business and they all were wonderful examples of how to, get it all done and treat people well out there on the not so easy Road. Today I still reach out to and rely on my Tour & Production Manager brethren, Philip “KY” Cabot, Richard Glasgow, Robbie Taylor & Chris Charucki, for advice, love and support.

What was the first tour that you used Master Tour on?

Well I AM user # 8 …. I was 1st introduced to MTD (as it was called then) back in 2003 when I started as the PM for the String Cheese Incident, I have been a user and believer ever since. Paul and the team were so supportive right from the start and so willing to listen to input from all of us out here using it and implementing our ideas and change requests as they could. Master Tour is really OUR application built by those of us out here in the trenches. I have put every single tour I have worked on since then on it if they weren’t already.

What feature do you use the most on Master Tour?

E-Itineraries, E – Day Sheets, Venue Sheets (Yes, I still print these) and of course the best thing to ever happen to an iPhone: Master Tour Mobile.

How is the touring business now, compared to 10 years ago?

It’s more of a “business” that’s for sure. Bands need to make a living touring these days since music is essentially free now. It used to be the other way around. We toured to sell records. Now most bands grind it out for more days on the road to make a living, which puts a lot more on the shoulders of crews and management.

Without naming names… what’s the most unreasonable task you’ve been instructed to perform as a Tour Manager?

I don’t think I have ever been asked anything all that unreasonable, but I have had to pull some rabbit’s out of my hat on many occasions. i.e. Checking 85 pieces of Luggage twice a week around the world, with only 7 or 8 passengers on the flight (That’s a load of laughs ..!!) I have had to have furniture rearranged in hotels etc., dealt with artists pets on the road, whacko fans, whacko girlfriends .. You know, the usual day in a TM’s life. It it makes your artist’s life on the road better and more comfortable then, all the better for you and the tour.

Besides the obvious, cell phones, internet, laptops, how has technology effected the way you tour since you started?

Obviously, for the better, I I think this is where I am supposed to say that Master Tour has changed my life … Well it has made my job way easier.

Have the responsibilities of a tour manager changed from when you started?

Not really, shifted a bit maybe. In these days of fickle economy’s I think we have all been asked at one point or another to double up on responsibilities, especially on smaller tours.

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8 Keys to Becoming a Successful Tour Manager

Managing tours can be wildly difficult. It’s not for the faint of heart.

The days and nights can be long, and it’s easy to become discouraged out on the road.

But if you follow a set of guiding principles, your job will become easier, people will respect you more, your team will achieve great results, and you’ll go farther in your career.

I’ve been a tour manager for the last 12 years, and I want to share with you 8 things that helped me succeed along the way.

1. Secure Your Job

First, it’s important to ​ secure your job ​.

I always tell young tour managers, “You can’t effectively take care of other people unless you take care of yourself first.”

And that starts the moment you get contacted about managing a tour.

You need to know exactly what you’re expected to do and how much you’re going to be compensated if you complete the job and do it well.

This concept of knowing how much you’ll be paid may seem elementary to you, but I’ve seen so many touring crew (including myself) get so caught up in how cool the job is that they forget to clarify how much money they’re going to make.

If you jump into managing a tour without first clarifying your job description and compensation, you’re setting yourself up for future disappointment and possible resentment - forcing you to regret working your dream job.

2. Learn the Artist’s Vision

The second key to becoming a successful tour manager is to ​ learn the artist’s vision for the tour.

You can better prepare for a tour when you know the overall vision.

This includes the whole touring process - travel styles, production, personnel, spending, culture, vibe, etc.

And I recommend learning all of this before you start doing any planning, budgeting or advancing.

When you learn the artist's vision, you’ll be able to make quick and easy decisions about what has to happen in order to execute each show.

Plus, you’ll be able to anticipate what your artist needs before they even realize they need it.

3. Communicate Well

The third key to becoming a successful tour manager is to always ​ communicate well ​. Great tour managers are great communicators. On the phone, over email, and in person.

There are three general guiding principles that I like to follow when communicating in my job: be quick, be concise, and be considerate.

These principles are especially important to remember while sending emails, but they also carry into other means of communication as well.

First, let’s talk about being ​ quick ​.

Respond quickly when someone reaches out to you.

We’re working in a fast paced, constantly changing industry and our communication should reflect that.

No, you don’t always have to be on your phone or in front of a computer, but don’t neglect your email or texts about an important subject.

The longer you wait to communicate about a problem, the bigger it can grow. Second, be ​ concise ​. Get to the point. Be direct.

You’re going to be very busy on the road, and the people you’ll be talking with are just as busy, if not busier.

Managers, agents, and labels have rosters full of artists that have different schedules and teams to attend to.

So be concise, but don’t leave out anything important - which may seem contradictory.

You’ll need to learn to filter through the information, communicating only what is essential.

It’s also important to learn how to read and write emails without tone.

Being short ≠ being rude.

Most people aren’t being rude when sending an email that says a single sentence like, “Please send.”

Being concise helps us maximize our time. Sometimes that means sending a really short email.

But being concise does not give you permission to intentionally be a jerk.

Even if you’re at odds with someone you’re working with, rude communication is always looked down upon and will never fare well for you.

Third, be ​ considerate ​.

Think about these things when communicating to your team:

Who is my audience?

Does this person need to know all of this information?

How should I communicate with this person?

Consider who you’re communicating with. Are you communicating with your crew? Your manager? Your artist? A venue representative?

For example, you may only need to communicate a schedule to your crew, but you may want to communicate every detail to your manager.

You may want to make sure your artist’s personal email isn’t copied onto a chain with the venue staff when going over production details.

One of the most important things to learn when communicating is how to communicate with your artist.

You need to learn how ​ they ​ like communicating.

Every artist and team you’ll work with will communicate differently. So you’ll need to learn how everyone likes to communicate and then adhere to those standards.

Tour managers and production managers are typically expected to be better communicators than other types of touring professionals.

But no matter what job you have on the road, if you communicate well with all parties, people will love working with you.

Remember to be quick, be concise, and be considerate in all of your future communication.

4. Follow Up

Key number four, ​ follow up on ​ all ​ show details. You can’t assume promoters, production personnel, and venue representatives will always know what you need.

I didn’t learn this until I made a ​ huge ​ mistake.

About a year into my career as a tour manager, I got a call to go on the road with an artist.

On my first day as the new tour manager with this artist, we showed up around 10AM to headline a large US festival.

Everyone was excited because it was a warm, gorgeous day and we were about to play for over 10,000 people.

Then the stage manager brought me some bad news. There were no instruments on the stage, backstage, or waiting for us on a truck.

We had flown to this show, and typically when you fly to a show you have to rent backline locally.

I realized in that moment I had forgotten to follow up on ordering backline for the show.

Through some quick and creative problem solving, we found the right instruments and saved the show.

But unfortunately, my first weekend with a new artist quickly became my last weekend with that artist.

If only I had followed up on the backline order.

Not following up on that ONE detail cost me my job, over $20,000 of income that summer, and an important business relationship.

Don’t make the same mistake I did.

Even if everything has already been confirmed weeks in advance, following up on all the details 24-48 hours before the show will help keep small items from falling through the cracks.

5. Stay Organized

The fifth key to becoming a successful tour manager is to ​ stay organized. A huge part of being a great tour manager is knowing how to organize the flow of many different types of information.

At times you might feel like you are drinking from a fire hydrant with the amount of information being thrown at you, but you have to stay organized.

There are many different project management apps you can use to stay organized, but I recommend simply using Google Sheets.

It’s free, it’s customizable, it’s collaborative, and it’s in the cloud - meaning you always have the information you need at your fingertips.

In case you’ve got an event coming up and you don’t have a good advance sheet, I want to share mine with you.

I’ve organized arena-level tours, mini-festivals, single shows, and live stream events all with the same sheet.

Click here , download it, and customize it how you want by clicking File > Make a copy.

6. Keep a Great Attitude

Key number six, ​ keep a great attitude! No one wants to be around someone who’s a drag on the road.

In our ​ How to be a Tour Manager ​ course, I teach about what it means to be a good “hang” on the road.

Touring is extremely interpersonal. You’re always surrounded by people you have to live and work with.

How you interact with others and how you respond to tough situations on the road will ultimately determine whether or not you will be hired again by that artist.

Touring professionals who are in extreme demand typically have good attitudes and are enjoyable to be around.

I said it earlier, touring is not for the faint of heart. There will be days on the road where you will just want to scream (or cry).

Learning how to be extremely optimistic and keep your stress levels in check even in tough situations will be a major key to your future successes on the road.

7. Don’t be afraid of conflict

You may strive to always have a good attitude, but ​ you can’t be afraid of conflict ​. That’s key number seven.

I’ll be the first to admit, engaging in conflict is not fun. But it’s absolutely necessary! Because nothing great can ever be done without engaging in some form of conflict.

You can’t hike up a mountain, lose weight, win a ball game, learn something new, or manage a great tour without engaging and navigating through some type of conflict.

The word conflict has a bad connotation; it gets a bad rap. But did you know that conflict within a team can actually be ​ healthy ​?

If you’ve built trust with your team and your team respects each other, conflict becomes more than just an argument.

With trust present, conflict ultimately becomes the pursuit of truth or the pursuit of the best possible outcome in a scenario.

So if you are in pursuit of the best possible outcome in a scenario, why wouldn’t you confront someone if they’re hurting the vision or the goal of the team?

Why wouldn’t you have a conversation with someone who is not helping your team (or tour) achieve great results?

Learning how to actively address conflict head-on rather than sweeping it under the rug is going to help you overcome many tough situations in every part of your life, and it’s going to help you manage a more successful tour.

8. Continually Improve Yourself

Lastly, you have to ​ continually be improving yourself ​.

Why do you need to continually improve yourself?

Because ​you are a product.

You get paid in exchange for what you’re worth and for the services you provide.

And if you want to keep getting hired and paid more money on the road, you have to continually be improving the ​ value ​ of the product or service that you provide.

For example, say you only know how to push cases and pack a truck. Well, you’re only economically worth about $15 bucks an hour.

And if you know how to set up and tune instruments properly, you’re worth a little more.

If you know how to lead a crew, you’re worth a bit more.

And if you can manage a tour, mix a show, lead a crew, set up instruments, and make sure every piece of gear is in top working condition every night, your value will keep going up and up and up.

You as a product become way more valuable because you are able to provide more services.

You save the artist money because they don’t have to bring out multiple people on the road to do all the jobs. You’ve got it covered.

You save the artist money because you keep all their gear in working order.

You give your team peace of mind because they know they can count on you to lead them on a tour.

And when you can prove that you save the artist lots of money, they’ll have no problem increasing your pay.

Because to them, working with YOU is a great investment, rather than working with someone else who doesn’t think like you.

I’m sure you get the picture here.

No matter what job you have, you are a product on the market, and you should continually be improving your skills and services to increase your value.

Once again, here are 8 Keys to Becoming a Successful Tour Manager:

Secure your job.

Learn the artist’s vision for the tour.

Communicate well.

Always follow up on ​ all ​ show details.

Stay organized.

Keep a great attitude.

Don’t be afraid of conflict.

Continually improve yourself.

A Great Way to Improve Your Skills

If you’re ready to up your game and learn how to lead your team on the road, join Tour Management Made Easy . It’s a program for young tour managers with bi-weekly coaching sessions and access to our ​ How to be a Tour Manag ​ er course. It could be the best thing you’ve ever given yourself.

Whether you’re a current touring professional or a student dreaming of becoming a tour manager, Tour Management Made Easy will help you gain the knowledge, the tools, and the confidence to be able to hit the road and successfully manage your next tour.

When you enroll in the program, not only will you immediately start gaining a new skill that’s valuable to artists on the road, but you’re also going to learn tips, tricks, and step-by-step processes that will make people love working with you. Plus, you’ll be surrounded by a community of people who are growing together.

Click here to learn more

Tour Manager

Also Called Road Manager, Concert Tour Manager

Tour managers travel with musicians and crew members on touring journeys that can span the globe and last for months. Their job is to make sure everything runs smoothly, which usually means arranging travel plans, coordinating with venues, managing money, facilitating media interactions, and scoping out local services at each tour stop.

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What does a Tour Manager do?

Tour managers take care of nearly every aspect of the lives of  musicians and  crew while on the road, providing organizational, administrative, and boots-on-the-ground support for the duration of a concert tour. They make transportation and lodging arrangements; communicate in advance with concert producers and  venue management  to coordinate load-in, sound check, and set times; convey the band's hospitality needs (backstage catering and dressing room setup); see to it that musicians and crew get to their next stop safely and on time; and ensure that the artist's rider requests are met.

The best tour managers are well-prepared for the issues and crises that sometimes arise on tour, and deal with them resourcefully and efficiently.

Tour managers create day sheets that detail each day's schedule and  distribute them  to the band and crew. If there are media engagements planned—such as a record store appearance, a radio station visit, or an interview—the tour manager is responsible for making sure everyone is where they need to be.  Perhaps most importantly, the tour manager manages the tour's finances, keeping a close eye on the money that comes in and out to ensure everything stays within the tour accountant's budget.  When a problem arises, whether it's due to a dispute with a promoter , a passport emergency, guest list gaffes, or the artist's own bad behavior, it's the tour manager's job to resolve the issue and restore peace. In some cases, tour managers work closely with a tour publicist to ensure attendance of the shows, and those who work on smaller tours might take on additional duties, such as overseeing production elements like lighting and sound or working the merch table.

At a Glance

Some tour managers start out as musicians  or concert techs ; others have experience as festival staff , booking agents , promoters , or live sound engineers , or in similar live-music roles. With experience, connections, and a reputation for good work, tour managers can advance to better-paying jobs with more prominent bands and artists, or join the ranks of a record label or concert promotion company. They can also go into other aspects of management, becoming an artist manager ,  venue manager , artist relations manager , or company manager to an orchestra.

Tour management is typically freelance work, although the most experienced tour managers may be able to snag in-house positions at record labels.  It's vital that aspiring tour managers have proven experience living on the road and managing a creative undertaking.  As with many live music gigs, g etting hired as a tour manager is often a matter of word-of-mouth referrals.   To get started, some tour managers do the work for little or no pay with a friend's band.

• Schedule management
• Personnel management
• Experience touring
• Proactive communication skills
• Problem-solving
• Multitasking and organization

Tour managers must be excellent multitaskers with terrific time management and organizational skills. Being proactive and making the most of downtime (e.g., while traveling between tour stops) is extremely important to staying on top of work. The best tour managers are well-prepared for the issues and crises that sometimes arise on tour, and deal with them resourcefully and efficiently. They  should also be capable of handling interpersonal conflicts—which occur frequently on tour—with grace.

It's easy to forget that managing a tour means going on tour oneself. Just like the musicians and crew members they manage, tour managers spend hours riding in cars, buses, and/or planes, work long days that continue well into the night, and sleep in hotels and motels in unfamiliar cities. They also enjoy all the benefits of going on tour: paid travel, free concerts, and new experiences and opportunities around every corner. It's  vitally important for a tour manager's long-term success and well-being that he or she enjoys life on the road, highs and lows alike.

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Bernie Boyle

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Bernie Boyle (Bernard Boyle) was born on 1951 in 1951, is a Director, Actor. Discover Bernie Boyle's Biography, Age, Height, Physical Stats, Dating/Affairs, Family and career updates. Learn How rich is He in this year and how He spends money? Also learn how He earned most of Bernie Boyle networth?

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One of the founders of the SF International Gay and Lesbian Film Festival (now Frameline) in 1977.

He was a director and actor, known for The Assassination of Anita Bryant (1976), Messiah at the City (1976) and A to Z (1986).

Bernie Boyle was born in 1951 as Bernard Boyle.

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