charney marshall tour manager

Women of Mushroom Group (part 2/3)

The Mushroom Group has a rich female history extending into the present. Currently, there are 17 ‘Key Leadership’ roles in the Mushroom Group of which 8 are female, 47%. A total of 218 Mushroom Group employees of which 99 are female, 45%. Mushroom Music Publishing has 17 employees, 10 are women, of which 6 are mothers. There is a long list of impressive women who presently hold strategic roles, middle management positions and support roles. Over the coming weeks we will spotlight 15 women in Senior positions across the Mushroom Group – today, we chat to Sahara Herald, Olivia McGrath, Eloise Glanville, Susan Cotchin and Julia Hill.

Sahara Herald // Tour Director // Frontier Touring

Which sector of Mushroom Group do you work in? Tell us about your role and how long have you been in your position for?

I was appointed as Tour Director at Frontier Touring in November 2018 after four years there already as Tour Co-ordinator. In simple terms the main differences between the two roles is that as Tour Co-ordinator I was primarily delivering tours after they were confirmed, where as my primary purpose as Tour Director is to actually bring the business in, whether it’s new or established, to do the work and negotiation to get a tour to the point of confirmation. I then give direction to our ticketing, marketing and publicity teams etc so they can go forth and do the stellar work they do.

Before it gets to that point though, there’s lots of late nights and early mornings communicating with agents across the world in different time zones, a plethora of reading, listening and researching, and of course plenty of number crunching and budgeting, and plotting and planning. Of course, for every tour that confirms there’s 10 that don’t! But it’s all learning, fine tuning skills, building and maintaining relationships and gathering information that can be used again elsewhere.

What artists are you working with/have you worked with?

I’m fortunate in that I get the opportunity to work with a diverse range of both domestic and international artists, from the well-established to the newly emerging, across multiple genres. There’s some heavy hitters who are also coincidentally wonderful people with great teams around them like Midnight Oil, Shawn Mendes, Paul Kelly, The Chemical Brothers, The Killers, Arctic Monkeys and Sam Smith.

Julia Michaels was the first new business that I signed so she’ll always be very special to me and from leftfield I’ve had great success with Marc Rebillet who is a one-man tour deforce out of New York. I’m also looking forward to bringing LA’s genre defying Starcrawler to Australia for their own tour, their live shows are unbelievable.

What has been your proudest achievement in your time at Mushroom?

I take great pride in the record-breaking tour with Midnight Oil in 2017, it was by far the most challenging and rewarding single tour I’ve worked on and tested my skills set on every level. Doing the keynote speeches at both BIGSOUND 2019 and the One of One Women’s Day breakfast this year were personal highlights as well: allowing myself to own my power and achievements whilst still being vulnerable and raw was very liberating and I felt I was able to genuinely connect with the audience in a way that left me truly invigorated and humbled.

Smart men don’t see women as threats nor as subordinates – they see them as leaders, allies and assets to the business.

What do you hope to achieve in the future?

Well right now, I’d love just to put on an international tour! Any tour actually. Obviously that’s not currently possible though and may not be for some time. It does give us all a wonderful opportunity to really shine a light on the immense talent we have right here in Australia though, so I’m looking forward to what evolves out of this period of “stillness”.

I’m predicting diversified creativity and new growth. For me personally, I’m looking forward to working further with Support Act on their prevention programs that address mental health and well-being within the industry. In the longer term I’m eager to continue collaborating across the Mushroom Group as we develop and nourish new artists, and additionally provide opportunities for our team to shine across the different companies.

We’ve achieved incredible things during lockdown despite not being able to do tours. A plethora #1 albums and of course Music From the Homefront on Anzac Day really showcased what the team could do led of course Michael Gudinski, followed by the State of Music and now our weekly prime time music show on ABC, The Sound .

What initiatives can the industry establish that will ensure women are well-represented in senior positions?

Mushroom has a rich history of promoting women within the company and empowering them in senior positions. It’s simply bad business and archaic not to. Smart men don’t see women as threats nor as subordinates – they see them as leaders, allies and assets to the business. But how do you change the inbuilt patriarchy when it’s sometimes so insidious? Infiltration?! I don’t know the answer here, I wish it was as simple as initiatives, or even quotas. But when the problem is systemic and somewhat generational, I see the answer in the new layer of women and men coming through that have more inclination to question and to call out inequalities and bad behaviour as unacceptable. The continued work of One of One and other collectives and forums that bring women together to connect, unite, collaborate, empower and uplift are definitely changing that conversation and outcomes thankfully.

Do you have any mentors or champions who have supported you along the way?

I’ve certainly had male champions over the years, most recently Michael Gudinski of course and Michael Harrison, but long term Merv McCasker (Big Day Out National Site Manager) was a stellar example of integrity and respect in the way he treated everyone he encountered, especially women. It’s a rare man who will follow a woman into battle without finding the need to usurp or belittle or talk over. Merv is one of those men and I’ll be forever grateful not just for his support but his unwavering wisdom, kindness and resilience.

When I’m really honest I’m sad to say I haven’t had female “mentors”, which was probably a reflection of the times more than anything. That said, I’ve always had great admiration for Fifa Riccobonno (to the point of having a girl crush!), she’s such a powerhouse and trail blazer for women in the business.

What I have had instead of mentors though, and continue to nurture and rely on, is a collegiate of amazing women throughout my career that I have leant on professionally and personally across all facets of the industry. Women such as Jessica Ducrou and Linda Bosidis have been my long-time fierce friends and advocates. Additionally I know I can count on and consult with a pretty powerful posse when needed: Susan Heymann, Melissa Chenery, Reegan Stark, Alex Kelsey, Janne Scott, Millie Millgate, Mardi Caught, Meagan Loader, Claire Marshall, Johanna Greenway, Karen Smith, Marihuzka Cornelius, Trish McNamara, Anita Alexander, Jo Hickey, Kylie Jeffries, Jade Skelly, Meg Walker, Susan Forrester, Viv Fantin, Tracey Wall, Jules Bain and of course Oana Gilbert and the legendary Mary Bainbridge are all trusted allies along with many more.

I did want to particularly mention Joc Curran who used to own and run The Zoo in Brisbane: we started out in this business together over three decades ago and have always helped each other in times of need. Her work ethic combined with a generosity of spirit has always warmed my heart and shown that you do not need to be deceitful, ruthless nor cruel to be successful. And I love building relationships with the next generation coming through too, women that are already forces of change, creativity and accomplishment such as Sarah Donelly, Mel Cheng, Sarah Dileo, Bec Young, Casey O’Shaughnessy, Katie Rynne and the latest addition to the Frontier team, the positively tenacious Gem Evans.

What do you think is currently the biggest threat to artists or the industry and what would you do to change it?

If asked this question six months ago the answer would have been quite different, but today the obvious answer that no-one can ignore is COVID. The live industry that I’ve worked in all my adult life has been completely decimated on a scale never seen before at any point in history. Will we survive? Sure. Will it be back to “normal” anytime soon? Probably not unfortunately. It’s an ever-evolving situation and the long-term effects economically and creatively areas are yet immeasurable. We’re a resilient, creative and resourceful bunch, our greatest assets at the moment are being adaptable and patient. And kind. Just be kind – this is a tough time for so many.

What is your go-to Karaoke song?

My guilty not guilty admission is that I have never done karaoke, ever. Many, many years ago when I was first dating my soon to be husband, I was singing in the shower and he came running down the hall and burst into the bathroom thinking I was injured and calling out in pain…needless to say I’ve never sung again. If I was cornered, my go to would probably be Helen Reddy. “ I Am Woman” was always my pre-gig warm up music on big show days, but I’ve always identified with the hope, yearning and ultimate disappointment of “Delta Dawn ”. At some point in life we’ve all experienced a man who didn’t deliver on promises made, it certainly made me more self-reliant – my happiness is not dependent on anyone else these days.

Olivia McGrath // Tour Coordinator // Love Police ATM

I’m a Tour Coordinator for Love Police ATM, I’ve been in this role for just over 3 and a half years. As Tour Coordinator I’m responsible for managing the merchandise production and sales for artists when they tour Australia, NZ and occasionally South East Asia.

There’s sort of a revolving door of artists that we’re working with at any time. Some of the regular local artists I work with are Bad//Dreems, Spacey Jane, Vera Blue, The Rubens, Alex Lahey, Thundamentals, Paul Kelly, WAAX, Hayley Mary. Other artists I’ve handled tour merch for in the past are Lizzo, Brockhampton, Kylie Minogue, Joey Bada$$, Imagine Dragons, Benee, Angel Olsen, Liam Gallagher, Why Don’t We, Kurt Vile, and many more.

What has been your proudest achievement in your role at Mushroom?

So far it’s probably setting the record for the highest merch spend per head at QUDOS Arena, Sydney with 21 Pilots. I’m not sure if this record still stands but at the time it knocked Harry Styles from the top spot. Other achievements are being able to work on busy touring schedules – in March 2018 we had over 330 shows across 81 tours, managed between our team of four Tour Coordinators. Getting to evolve my skillset through busy seasons like this is a great feeling.

I’m hoping to continue in my role at LPATM and work with the industry as it recovers from the impact of Covid-19. Hopefully in the not too distant future we’ll again be running merch sales for sold out arena shows and large outdoor events, and will be challenged once again with a full tour itinerary to work on. For the immediate future it’s about generating as many merch sales as possible for the local artists – through both their online stores and live shows when they’re able to tour again.

Senior management are crucial in encouraging female staff to progress in their careers by creating a work environment that is supportive and ensuring their female employees are given the same opportunities as their male counterparts.

I think initiatives like this from One of One, that profile a variety of roles and positions that women hold in the industry are very important. It can give women confidence that a career in the industry is possible, and there are many pathways they can take. The more women working in the industry gives a greater selection of talented females when hiring for senior roles.

Personally I think LPATM have a good representation of female employees. Roughly 40% of our team is female and we are employed in varying roles – Holly is one of our Designers & Social Media Manager, Tracey is our Melbourne Warehouse Manager, Pen is in charge of Bookkeeping & Leah started with us in an admin role and is also now a Tour Coordinator. On top of this a lot of our ground level merch sales staff across the country & NZ are female.

I believe we have this fairly well-balanced team thanks to the unbiased hiring by Seb & BT, and it shows their encouragement of female employees. However I believe the industry at large still has a way to go to achieving parity. Senior management are crucial in encouraging female staff to progress in their careers by creating a work environment that is supportive and ensuring their female employees are given the same opportunities as their male counterparts. I also believe they should be looking at the diversity of their team as a whole, not just gender.

The LPATM crew have been incredible in helping me develop in my role, in particular my fellow Tour Coordinators’ Matt Taranto, Anthony Truer & Juan Cuellar. We’re fortunate to have a close, supportive team that’s always quick to help when needed.

Prior to starting my role at LPATM I had a great mentor in Charney Marshall. I worked with Charney doing admin and event roles, she taught me a lot about the touring aspect of the industry and encouraged me to progress in my career, which I’m very thankful for.

Of course at the moment that’s Covid-19. In terms of merchandise, most artist’s sales are generated at their live shows, and as the live industry has basically been put on hold since mid-March there’s been a huge loss for artists. For now, to help combat the loss of live shows we’re focusing on doing what we can to increase online sales for artists. Fortunately we’re seeing some great results across quite a few different online campaigns, for example we recently ran the official album pre-orders for Spacey Jane & DMA’s, with both bands landing at #2 on the ARIA charts in their release weeks.

As live shows slowly begin to restart I think the next challenge will be navigating the uncertainty of interstate borders opening and closing, restrictions changing daily and how this will impact our operations.

I’m an absolutely horrendous singer so no karaoke song haha. If it was a guarantee that nobody could hear me then maybe a Bruce Springsteen classic (maybe!)

Eloise Glanville // Marketing + Communications Operations Director // Frontier Touring/Chugg Entertainment/Illusive Presents

I’ve held a number of roles with Mushroom across many years – and indeed decades. My first association being with Premier Artists as a Door Bitch (strong yes, bitch no) in the thick of pub touring in the late 80s.

Now, I am the Marketing + Communications Operations Director, with our team providing services for Frontier, Chugg Entertainment and Illusive Presents tours.

I’ve had three stints at Mushroom across thirty years, my most recent return was way back in 2005, which I’m astonished is fifteen years ago (it feels more like seven). My previous roles have been with Mushroom Records (PA to Marketing + Creative Managers), White Label (Label Assistant), Premier Artists (Bookkeeper), Michael Gudinski (Executive PA), a day on the green (weekend Merchandise Manager) and Mushroom Promotions (Labels + Live Operations Manager). It’s a terrific company to work at, and every day I pinch myself that this is how my career has unfolded.

I am very blessed to have worked with an extraordinary and vast list of domestic and international artists; quite literally from the biggest in the world through to the fresh and soon to be known.

I can’t choose just one, so here’s five. Whilst they not directly be my sole achievement, I am proud of my involvement:

Staff growth | I swell with pride to see my co-workers continually increase their bag of skills to gain career promotion and wonderfully deserved project successes.

Artist success | To see the groundswell and evolution of an artist across a number of years; this does not necessarily equate to ticket/album sales but sometimes it’s merely the joy of their new music.

Music From The Home Front ,  The State of Music  and  The Sound broadcasts | Since Australian live music was abruptly silenced on 16 March 2020, staff from many Mushroom Group companies – across seventeen broadcasts – have turned their hand to create well in excess of 100 top quality “live music performance from home” videos. These videos and broadcasts have supported Australian musicians from all genres and career levels both financially and promotionally. The hustle has been amazing and it’s incredible how quickly we adapted to working under new conditions.

Sound Relief | Another example of a huge team of people pulling together in a short timeframe to create an astonishing event for the community at large; every role counts toward the end result.

Every Poster Tells A Story | 30 years of the Frontier Touring Company  | I spent four years sourcing many exact details and missing pieces of the company’s 30 year history and was very chuffed to finally see the 285 page hardback coffee table book in print.

… in most instances in conversation or correspondence we should just listen to the message and not see the gender.

To work hard yet smart, do my best, not scrimp on quality, learn every day, have fun, say what I mean and continue to dispense top notch support and enthusiasm to the M+C team and greater Mushroom Group; along with mentoring/meddling and providing opportunity wherever I can.

These are more so comments than initiatives.

Provide mentoring and support, but in particular to staff (and interns) in the early years of their careers. Coaching on why, rather than just how, and imparting managerial insights, will hopefully establish a deeper task review process for them which in turn should lead to better results, and so on and so forth, and onward to the top.

Accept that women and men don’t work in the same method and manner in order to achieve the same outcome (sometimes even better, but mostly more orderly).

In the same vein as the above comment, in most instances in conversation or correspondence we should just listen to the message and not see the gender.

I could name 1000s of people who have helped shape and get me to where I am today, but rather shall put it simply by saying my colleagues past and present – from the honchos to the interns – and every one in between.

While I’m mentioning honchos I must mention Michael Gudinski. For as long as I can remember the Mushroom buildings have always been teeming with women, it’s only over the last few years I have come to realise this is not common place. He has pushed and demanded I deliver my best, but importantly empowers me to do so – thanks MG.

And a couple of shout outs to those who always have my back – Reegan Stark and Anna Toman, thanks gals.

And me – I am my own champion too! I can’t impress enough that for everything you do that you evaluate, make a decision and then back yourself. On the off chance you make a mistake – admit it, fix it, learn from it and keep going.

COVID19 but I’ll answer this question as if it were 2019.

Music and it’s live performance are so undervalued – both financially and creatively. Why do the public (and the bureaucrats) under estimate the worth of music? Most people reach for it as part of their every day routine – they love it, they couldn’t get by without it –  and let’s not forget the wellbeing effect it brings. Punters will happily dole out upwards of $20 for a takeaway meal that you can only eat once, but god forbid they pay for their music. I can’t understand this narrow and self centred thinking.

If only there were more bangers from Jesus Christ Superstar on the karaoke song lists.

Susan Cotchin // Managing Director // Good Neighbour

Which sector of Mushroom Group do you work in?

I have a joint venture with Michael Gudinski under the umbrella of The Mushroom Group in the field of Neighbouring Rights. Whilst I started my company International Royalties Rescue (IRR) in 2003, Good Neighbour was launched quite recently in April 2019.

Tell us about your role and how long have you been in your position for?

I’m the Managing Director and co-owner of Good Neighbour Rights and am responsible for everything from recruitment to implementing strategies around recruitment, registration, claims and generally maximising income for our clients.

I have worked with many top line artists in Australia from The Teskey Brothers, Amy Shark, Paul Kelly, Gang of Youths & many others. International acts include Rihanna, Beyonce, The Eagles, Tom Jones, Fat Boy Slim and more recently with Cold War Kids, Michelle Branch, Live, Zedd in this neighbouring rights environment.

That would be posing with Michael for the media release at the launch of Good Neighbour! 😊 True – but more seriously, meeting and negotiating deals with some of the biggest players in the music industry. It’s been a humbling honour to be ‘enabled’ and introduced by Mushroom to so many incredible artists and their management teams. Additionally – working with the incredible Mushroom royalties team headed up by Lee Barlow. I have learned much from him already.

It’s early days at Good Neighbour, so I’m excited about the roll out of our new portal but moving into Yr 2 and 3, we plan to have a bigger international presence and sign a plethora of major international artists.

It is a complex, layered discussion, but we finally have the right people around the table discussing the legislation and lack of it and challenges ahead to ensure Australian performers are paid from more countries in the future.

I’m not sure I would see it as an initiative. I think we need to look past gender and simply see a person who can/cannot do the job. I’ve never thought of myself as female or male when it comes to work. I thought of myself as motivated and passionate. I cannot stop others from their prejudices – so if the opportunities weren’t there for me – I simply created my own. I started my neighbouring rights company by taking the risk, soaking myself in knowledge so I could help fellow performers and just simply – got on with it!

One of my mentors was actually in the education system at RMIT TAFE. After a failed audition for the Victorian Jazz College, I was at a loss of what to do. I had a temp job at the Workers Compensation office in Melbourne, sticking numbers on files as I tried to make ends meet as a struggling songwriter. So I applied for a TAFE course in Sound Production to get out of the awful temp work and into anything that resembled music. So Sound Production was it. It was a dreadful course, all males and I the only female intake!

When one of the older male lecturers who was versed only in how to put a microphone together, tried to teach us about copyright in the music business unit, I complained to the Head of Department. He asked me if I would like to teach it instead. He saw the motivation and passion in me, and I went on to become the Head of the Programme for 4 years, before moving to London and working in the field of Neighbouring Rights. I have never seen him since as he has moved OS, but if it weren’t for him believing in me, I don’t think I’d have been talking to you today.

The UK society PPL, ceased paying Australian performers for their neighbouring rights in 2013 and there is little awareness about this in our Industry. I have formed a committee that discusses the underlying reasoning behind why Neighbour Rights does not exist in Australia and lack of reciprocity with other countries. It is a complex, layered discussion, but we finally have the right people around the table discussing the legislation and lack of it and challenges ahead to ensure Australian performers are paid from more countries in the future.

I entered the music industry from a singer songwriter background, so it’s always fun to get up with my big Sister (also a singer), and break into a duet. We have been known to kill it with Donna Summers ‘Hot Stuff’ (can you believe the first record I ever won in a singing contest aged 7), Xanadu or Shallow – Lady Gaga as its hilarious to see people’s reactions when you hit a big note when they are expecting lager vocals!

Julia Hill // Director of Publicity // Mushroom Group

I work within the label’s promotions team as the Director of Publicity. The label team is a new team and I have been in this position for 8 months. Previously when the live side of the business and label side were combined, I was the Head of International & Bloodlines Artist relations.

All up I have been with Mushroom 6 years, this December.

My artist roster is a very mixed bag, looking after the Bloodlines, Liberator, Reclusive and Liberation Records labels, and I love the all the different genres. Currently its merci, mercy, Lastlings, Gordi, Scott Darlow, Mondo Rock, Diesel, Vika & Linda, Fontaines D.C, IDLES & Kylie Minogue.

I think overall being recognised by my peers as a hard worker and being good at what I do, it’s great to have number ones but its even more rewarding when you assist in the development of an artist and watch them grow.

At this point in time, getting through this current global pandemic which has put the music industry on its ass. It’s very exciting seeing new music being produced, with artists being busy in lockdown but its sad we will not get to see them properly tour for some time to come yet. Part of putting out new music is playing it live, I miss seeing the album we release come to life on stage too. Its tough all round. I just want to come out the other side and see albums performed live.

Women supporting women so we can continue to succeed in senior roles and mentor and train our young ladies for future roles. Question what you don’t see as fair, ask why and seek a solution. Be yourself, you do you and always trust your instincts.

It is important that panels/boards etc have an even gender distribution along with music festivals.

… it’s great to have number ones but its even more rewarding when you assist in the development of an artist and watch them grow.

One of my first lady bosses was the formidable Carolyn Polley as my manager at Edels Music when I first started out in retail. I loved music, I wanted to work in music and working in a record store every day seemed like a dream job and it pretty much was. Carolyn was sassy, funny, enthusiastic and great at what she did. Was also a mean bass player in Big Heavy Stuff. She taught me to never expect your team to do what you are not prepared to do yourself IE the shit jobs. Its stayed with me to this day. Carolyn was also someone who helped personally during different stages of my twenties. I have had many (and mainly) lady bosses along my music industry career and the majority have been supportive and have had my back and given out many pearls of wisdom. Advice is great – you can take it or leave it and follow by example, which also means you can learn what ‘ not to do’ and ‘how not to treat people.’

Also have to say my mum, having recently lost her, I realised how important she was in making me into the woman I am today, and she was tough but fair but always had my back and encouraged every step of my career. A strong woman to look up to.

Clearly being unable to tour is a massive threat to an income for artists and the industry as a whole.

It’s been so interesting seeing new and inventive ways that artists are coming up with ways to get their music out there and how to monetise that with tickets to virtual concerts and live web streams. Fortunately, we are seeing some smaller social distanced shows coming out of the ashes of Covid, let’s hope they continue, and punters also do the right thing.

I can’t change the outcome of Covid but I can keep plugging great music so when restrictions do open up people can get out and hear these albums live on stage.

Put me in front of a crowd and I would sing anything. I did win a Karoke competition many years ago to Salt- N – Pepa’s ‘Push it’ but I think my dance moves got me across the line.

• Email Address *

Becoming a Tour Manager: Essential Skills and Responsibilities

• Published: August 5, 2023
• By: Yellowbrick

Tour managers hold the key to orchestrating flawless concert tours, bringing together every detail with finesse. In this article, we explore the crucial organizational and planning skills required for success in this dynamic role. From adept communication and financial management to the ability to adapt and problem-solve under pressure, tour managers must wear multiple hats.

Organization and Planning Skills

Tour managers are responsible for planning every detail of a concert tour, from booking venues and arranging transportation to managing budgets and coordinating with artists and their teams. To be a successful tour manager, you’ll need excellent organizational and planning skills, as well as the ability to multitask and prioritize competing demands.

Communication and Interpersonal Skills

Tour managers must be effective communicators, able to negotiate with venues and vendors, and coordinate with artists and their teams. Strong interpersonal skills are also essential, as tour managers must be able to build and maintain relationships with clients, vendors, and other industry professionals.

Financial Management Skills

Tour managers are responsible for managing budgets and ensuring that tours stay within financial constraints. This requires strong financial management skills, including the ability to create and manage budgets, negotiate contracts, and track expenses.

Flexibility and Adaptability

Touring can be unpredictable, and tour managers must be prepared to adapt to changing circumstances at a moment’s notice. This requires flexibility, adaptability, and the ability to think on your feet.

Knowledge of the Music Industry

Tour managers must have a thorough understanding of the music industry, including the various roles and responsibilities of artists, managers, agents, and record labels. This knowledge is essential for negotiating contracts, coordinating with industry professionals, and ensuring that tours run smoothly.

Attention to Detail

Tour managers must pay close attention to detail, ensuring that every aspect of a tour is planned and executed flawlessly. This includes everything from booking hotels and transportation to coordinating soundchecks and managing merchandise sales.

Problem-Solving Skills

Touring can be unpredictable, and tour managers must be able to solve problems quickly and efficiently. This requires strong problem-solving skills, as well as the ability to remain calm under pressure.

Education and Career Path

While there is no set career path for becoming a tour manager, most professionals in this field have a background in the music industry or related fields. Many tour managers start their careers as interns or assistants, working their way up through the industry over time.

While a college degree is not always required to become a tour manager, many professionals in this field have completed degrees in music business, entertainment management, or a related field. These programs provide students with a foundation in the music industry, as well as practical skills in business management, marketing, and event planning.

Key Takeaways

If you’re interested in pursuing a career as a tour manager, there are several essential skills and responsibilities that you should be aware of, including organization and planning skills, communication and interpersonal skills, financial management skills, flexibility and adaptability, knowledge of the music industry, attention to detail, and problem-solving skills.

While there is no set career path for becoming a tour manager, most professionals in this field have a background in the music industry or related fields. If you’re interested in pursuing a career as a tour manager or want to learn more about the music industry, consider taking the NYU x Billboard | Music Industry Essentials online course and certificate program. This program provides students with a comprehensive understanding of the music industry, as well as practical skills in business management, marketing, and event planning.

Enter your email to learn more and get a full course catalog!

• Hidden hide names
• Hidden First Name
• Hidden Last Name
• Phone This field is for validation purposes and should be left unchanged.

More from Yellowbrick

Yellowbrick Recognized as Top EdTech Company in North America by TIME and Statista

We are thrilled to announce that Yellowbrick has been named the leading EdTech company in North America and sixth globally in the prestigious “World’s Top

Mastering the Art of Backline Tech: Tips & Tricks for Technicians

Explore the exciting role of a backline technician, gain insights into essential skills, career growth opportunities, and steps to achieve success in the live music industry.

Top 5 Video Streaming Challenges: How to Overcome Them

Explore video streaming challenges and strategies to overcome them, from bandwidth limitations to DRM issues. Dive into the dynamism of the video streaming industry.

ABOUT YELLOWBRICK

• Work at Yellowbrick
• Privacy Policy
• Terms of Use

STUDENT RESOURCES

• Scholarships
• Student Login
• Beauty Business Essentials
• Beauty Industry Essentials
• Ecommerce Essentials
• Fashion Business Essentials
• Fashion Industry Essentials
• Footwear Business Essentials
• Gaming & Esports Industry Essentials
• Global Sports Management
• Hospitality Industry Essentials
• Music Industry Essentials
• Performing Arts Industry Essentials
• Product Design Essentials
• Sneaker Essentials
• Streetwear Essentials
• TV/Film Industry Essentials
• UX Design Essentials

©2024 Yellowbrick · All Rights Reserved · All Logos & Trademarks Belong to Their Respective Owners

Becoming a Tour Manager: A Comprehensive Guide

If you have a passion for travel, love organizing events, and enjoy working with people from different backgrounds, a career as a tour manager might be the perfect fit for you. As a tour manager, you will play a crucial role in ensuring the smooth running of tours, providing an unforgettable experience for travelers. In this comprehensive guide, we will explore the ins and outs of becoming a tour manager, from understanding the responsibilities to tips for career advancement. Let's dive in!

Understanding the Role of a Tour Manager

As a tour manager, you will be responsible for overseeing every aspect of a tour, from the planning and organization to the execution and completion. Your primary goal is to ensure that travelers have a memorable and enjoyable experience throughout the journey.

Imagine yourself standing in a bustling airport, surrounded by excited travelers ready to embark on their adventure. As a tour manager, you will be the guiding force behind their journey, ensuring that everything runs smoothly and seamlessly. From the moment they step off the plane to the final farewell, you will be there, orchestrating every detail.

But what exactly does it mean to be a tour manager? Let's dive deeper into the key responsibilities and skills required for this exciting role.

Key Responsibilities of a Tour Manager

As a tour manager, you will wear many hats. Some of your key responsibilities include:

• Managing logistics, such as transportation, accommodations, and meals
• Organizing sightseeing activities and excursions
• Providing information and assistance to travelers
• Handling emergencies and resolving any issues that may arise
• Building relationships with local service providers and suppliers

Imagine yourself navigating the labyrinthine streets of a foreign city, ensuring that the tour group arrives at their hotel safely and on time. You will be the mastermind behind the seamless coordination of transportation, making sure that everyone travels comfortably and efficiently. From arranging luxurious accommodations to selecting delectable meals that cater to various dietary preferences, you will be the architect of a truly unforgettable experience.

But it doesn't stop there. As a tour manager, you will also be the storyteller, weaving together fascinating historical and cultural narratives as you guide the group through iconic landmarks and hidden gems. Your knowledge and passion for the destinations will shine through as you share captivating stories and insider tips, making the journey come alive.

Of course, no journey is without its challenges. As the tour manager, you will be the problem-solver, ready to tackle any unexpected hurdles that may arise. From lost luggage to unforeseen weather conditions, you will think on your feet and find creative solutions to ensure that the tour continues smoothly.

Furthermore, building strong relationships with local service providers and suppliers is crucial. Your ability to connect with people from different backgrounds and cultures will not only enhance the tour experience but also create lasting partnerships that benefit both the travelers and the local communities.

Skills Required for the Job

To be an effective tour manager, you need a combination of hard and soft skills . Here are some of the key skills required:

• Excellent organizational skills: You will be juggling multiple tasks and deadlines, so the ability to stay organized is crucial.
• Strong communication skills: You will be interacting with travelers, service providers, and fellow team members, so effective communication is essential.
• Cultural sensitivity: You will work with people from diverse backgrounds, so being open-minded and respectful of different cultures is essential.
• Problem-solving abilities: As the tour manager, you will need to think on your feet and find solutions to unexpected challenges.

Imagine yourself effortlessly managing a complex itinerary, ensuring that every detail is meticulously planned and executed. Your organizational skills will be put to the test as you coordinate transportation, accommodations, and activities, all while ensuring that everything aligns seamlessly.

Effective communication will be your superpower. From providing clear instructions to the tour group to negotiating with local service providers, your ability to convey information and build rapport will be essential in creating a positive and enriching experience for everyone involved.

Cultural sensitivity is not just a skill, but a mindset. As a tour manager, you will have the privilege of immersing yourself in different cultures and interacting with people from all walks of life. Your openness and respect for diversity will foster meaningful connections and create a welcoming environment for travelers from around the world.

Finally, problem-solving will be your daily adventure. Whether it's rearranging an itinerary due to unforeseen circumstances or finding an alternative activity when faced with unexpected closures, your ability to think creatively and adapt quickly will ensure that the tour remains a seamless and unforgettable experience.

These skills can be developed through education and hands-on experience. Let's explore the path to becoming a tour manager.

The Path to Becoming a Tour Manager

Are you passionate about travel and have a knack for organizing and managing events ? If so, a career as a tour manager might be the perfect fit for you. In this expanding industry, tour managers play a vital role in ensuring that travelers have a seamless and enjoyable experience. While a specific degree is not always required to become a tour manager, there are certain educational and experiential steps you can take to increase your chances of success.

Educational Background

While a degree is not a prerequisite for becoming a tour manager, having a background in hospitality , tourism, or event management can give you a competitive edge. Many universities and colleges in the UK offer courses specializing in these areas. These programs provide a comprehensive understanding of the industry, covering topics such as customer service, marketing, logistics, and event planning. By enrolling in these courses, you can gain valuable knowledge and skills that will be directly applicable to your future career as a tour manager.

Additionally, gaining practical experience through internships or part-time jobs in the tourism and hospitality industry can provide valuable insights and help you build a solid foundation for your career as a tour manager. Working in hotels, travel agencies, or event planning companies can expose you to the inner workings of the industry and give you a firsthand understanding of the challenges and opportunities that tour managers face on a daily basis.

Gaining Relevant Experience

Experience is key in the tour management industry. While formal education can provide you with the necessary theoretical knowledge, practical experience is what will set you apart from the competition. Consider starting your career by working as an assistant tour manager or volunteering for local tour providers. These opportunities will allow you to learn the ropes, make connections, and gain firsthand experience in tour operations.

Networking is also crucial in the industry. Attend career events, join professional organizations, and connect with experienced tour managers to expand your network and learn from their insights. Building relationships with industry professionals can open doors to new opportunities and provide valuable mentorship as you navigate your career as a tour manager.

Furthermore, staying up-to-date with industry trends and developments is essential for tour managers. The tourism industry is constantly evolving, and it is important to stay informed about new destinations, emerging travel trends, and technological advancements that can enhance the tour experience. By continuously learning and adapting, you can ensure that you are offering the best possible service to your clients.

In conclusion, while there is no one-size-fits-all path to becoming a tour manager, a combination of education, practical experience, and networking can greatly increase your chances of success in this exciting and dynamic field. By investing in your education, gaining relevant experience, and building a strong professional network , you can embark on a fulfilling career as a tour manager and help create unforgettable travel experiences for your clients.

The Tour Management Industry

Overview of the industry.

The tour management industry is thriving in the UK, with a wide range of tour operators catering to different niches and interests. From luxury tours to adventure travel, cultural experiences to culinary delights, there is a tour for every traveler.

Moreover, the UK's rich history, vibrant cities, and stunning landscapes make it an attractive destination for both domestic and international travelers. The country's diverse offerings, including medieval castles, picturesque countryside, and world-class museums, provide ample opportunities for tour managers to showcase their skills and create unique itineraries.

For history enthusiasts, there are guided tours that delve into the fascinating stories behind iconic landmarks like Stonehenge, Buckingham Palace, and the Tower of London. Nature lovers can explore the breathtaking beauty of the Lake District or the rugged landscapes of the Scottish Highlands. Meanwhile, foodies can indulge in culinary tours that take them on a gastronomic journey through local markets, traditional pubs, and Michelin-starred restaurants.

Current Trends and Future Outlook

The tour management industry is constantly evolving to meet the changing needs and preferences of travelers. In order to stay competitive, tour managers need to stay updated with the latest trends and incorporate them into their tours. Some of the current trends in the industry include:

• Customized and personalized itineraries: Travelers are seeking unique experiences tailored to their interests and preferences. Tour managers can offer personalized itineraries that cater to specific hobbies, such as photography, birdwatching, or wine tasting.
• Sustainable and eco-friendly tours: With growing concerns about the environment, travelers are increasingly conscious of their carbon footprint. Tour managers can incorporate eco-friendly practices into their tours, such as promoting public transportation, supporting local communities , and partnering with sustainable accommodations.
• Integration of technology for a seamless travel experience: Technology has revolutionized the way we travel. Tour managers can leverage technology to enhance the overall travel experience, from online booking platforms and mobile apps for real-time updates to virtual reality tours that allow travelers to explore destinations before their trip.
• Authentic local experiences and immersive cultural activities: Travelers are seeking authentic experiences that allow them to connect with the local culture. Tour managers can organize activities like cooking classes, traditional music performances, or visits to local artisans, providing travelers with a deeper understanding of the destination.

By staying updated with these trends and incorporating them into their tours, tour managers can not only attract more clients but also provide memorable and enriching experiences for travelers. The future of the tour management industry looks promising, with an increasing demand for unique and immersive travel experiences. As travelers continue to seek out new adventures and cultural encounters, tour managers play a vital role in curating unforgettable journeys that leave a lasting impact.

Essential Tools for a Tour Manager

Being a tour manager requires a combination of skills, knowledge, and the right tools to ensure a successful and memorable experience for travelers. In today's digital age, technology plays a crucial role in streamlining operations and enhancing the overall traveler's experience. Let's explore some essential tools that every tour manager should consider incorporating into their workflow.

Technology in Tour Management

In recent years, technology has revolutionized the tour management industry, making it easier than ever to manage and organize tours efficiently. By embracing the right technological tools, tour managers can not only streamline their operations but also impress tech-savvy travelers who expect a seamless and immersive experience.

One essential tool for tour managers is online booking and reservation systems. These systems allow travelers to book their tours and make reservations conveniently and securely. By integrating such systems into their websites or platforms, tour managers can automate the booking process, saving time and reducing the risk of errors.

Mobile apps have also become indispensable tools for tour managers. These apps provide a convenient way to communicate with travelers and provide real-time updates. Whether it's notifying travelers about changes in the itinerary, sharing important information, or answering their questions, mobile apps facilitate seamless communication and enhance the overall travel experience.

Virtual tour platforms have gained popularity, especially in recent times when travel restrictions have limited physical travel. These platforms allow tour managers to offer remote experiences, where travelers can explore destinations virtually. By incorporating virtual tour platforms into their offerings, tour managers can cater to a wider audience and provide unique experiences that transcend physical boundaries.

Social media and online marketing tools are also essential for tour managers. These tools enable tour managers to promote their tours, engage with potential customers, and build a strong online presence. By leveraging social media platforms and online marketing tools, tour managers can reach a broader audience and create a buzz around their tours.

Communication and Organizational Tools

Effective communication and organization are vital for tour managers to ensure smooth operations and deliver exceptional tours. Here are some tools that can help tour managers in this aspect:

Project management software is a valuable tool for tour managers to manage tasks and timelines efficiently. With project management software, tour managers can create and assign tasks, set deadlines, and track progress. This tool helps ensure that all aspects of the tour are well-coordinated and executed seamlessly.

Communication platforms play a crucial role in facilitating collaboration among team members and travelers. These platforms allow tour managers to communicate with their team in real-time, share important updates, and address any concerns or issues that may arise during the tour. By having a centralized communication platform, tour managers can ensure that everyone is on the same page and can respond promptly to any changes or emergencies.

Travel planning apps are another valuable tool for tour managers. These apps provide features such as itinerary management, document storage, and travel logistics. By using travel planning apps, tour managers can keep track of the tour itinerary, store important documents such as travel permits and visas, and manage travel logistics efficiently. This tool helps tour managers stay organized and ensures that all necessary information is readily accessible.

By incorporating these communication and organizational tools into their workflow, tour managers can enhance their efficiency, improve communication with their team and travelers, and ultimately deliver exceptional tours that leave a lasting impression.

Challenges and Rewards of Being a Tour Manager

Dealing with difficult situations.

Being a tour manager is not without its challenges. From flight cancellations to medical emergencies, unexpected situations can arise. However, being resourceful, staying calm under pressure, and having contingency plans in place can help you navigate these challenges.

The Satisfaction of a Successful Tour

Despite the challenges, the rewards of being a tour manager are immeasurable. The joy of seeing travelers' faces light up as they explore new destinations, the satisfaction of creating lifelong memories, and the opportunity to connect with people from all walks of life make this career incredibly fulfilling.

Career Advancement Opportunities for Tour Managers

Further training and certifications.

To enhance your skills and advance your career, consider pursuing further training and certifications. These can include:

• Professional certifications in event management or tourism
• Language courses to broaden your communication abilities
• Specialized training in specific types of tours, such as adventure or cultural tours

Investing in continuous learning and professional development will make you a sought-after tour manager and open doors to new opportunities.

Potential Career Paths and Progression

As a tour manager, there are various career paths and progression opportunities available to you. These can include:

• Becoming a senior tour manager, overseeing multiple tours and managing a team
• Branching out into tour consulting or starting your own tour company
• Transitioning into related fields such as event management or hospitality management

By staying proactive, continuously improving your skills, and seizing opportunities, you can carve out a successful and fulfilling career as a tour manager.

Tips and Advice for Aspiring Tour Managers

Building a network in the industry.

Networking is key to success in the tour management industry. Attend career fairs, join professional associations, and connect with industry leaders to expand your network. Building relationships with fellow tour managers, suppliers, and potential clients can lead to valuable opportunities and collaborations.

Staying Updated and Continuous Learning

The tourism industry is dynamic, with ever-changing trends and customer preferences. Stay updated with the latest industry news, follow influential voices in the sector, and participate in workshops or seminars to broaden your knowledge. Continuous learning will keep you ahead of the curve and make you a valuable asset in the industry.

Becoming a tour manager is an exciting and rewarding career choice. With the right skills, experience, and dedication, you can create unforgettable experiences for travelers and embark on a fulfilling journey in the world of tourism. So, start your adventure today and set your sights on a successful career as a tour manager.

Related Career Opportunities

Recent posts for students.

Exploring Hospitality & Travel Career Paths

Securing an Accounting Internship in Reading: Tips and Strategies

Landing a Fashion & Arts Graduate Job in Glasgow

Gain Valuable Experience Through an Internship at Clyde & Co

Becoming a Procurement Manager: A Comprehensive Guide

Securing a Venture Capital & Private Equity Internship in Oxford

Becoming an Orthoptist: A Comprehensive Guide

Get Ready for Fresher's Week at Bath University!

Discover the Best Societies to Join at York University

Securing a Government Graduate Job in Glasgow

Landing a Software Engineering Graduate Job in London

Get Ready for Fresher's Week at UEA

Landing a Finance Graduate Job in Leicester: Tips and Advice

Cover Letter Tips for Students Looking to Secure a Business, Operations & Strategy role

Discover the Best Societies to Join at BPP

Securing a Transportation Internship in Hertfordshire

Securing a Telecommunications Internship in Birmingham

Becoming a Learning Disability Nurse: A Comprehensive Guide

Land Your Dream Job in Manchester: Transportation Graduate Opportunities

Securing a Logistics Internship in Cardiff: Tips and Strategies

Securing a Venture Capital & Private Equity Internship in Leeds

Securing a Sustainability Internship in Bristol: Tips and Strategies

Essential Skills to Develop to Boost Your Logistics CV

Preparing for Fresher's Week at Cardiff: Tips and Advice

Securing a Defence & Aerospace Internship in London

Discover the Best Societies to Join at UCLan

Becoming a Successful Farm Manager

Securing a Real Estate & Construction Internship in Hertfordshire

Find the Perfect Retail & Consumer Goods Graduate Job in Belfast

Land Your Dream Job in Marketing & Advertising in Leeds

Becoming an Effective Advertising Account Planner

Secure Your Dream Graduate Job in Retail & Consumer Goods in Aberdeen

Best Career Paths for Computer Science Graduates

Securing a Marketing & Advertising Internship in Oxford: Tips and Strategies

Advice for Incoming NUA Students: Tips for a Successful Start

Landing a Software Engineering Graduate Job in Nottingham

[huh-zl] • from “to hustle”

You are flowing through your career, untroubled, elegantly, with finesse. The evolution of “hustling”.

Get the app

Job seekers, student organisations.

© All rights reserved by Huzzle | Contact: [email protected]

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

Tragic Details About The Cure

The following article includes multiple mentions of suicide and suicidal ideation.

There probably hasn't been, nor ever will be, another rock band that so unabashedly, thoroughly, and accurately explored sadness and sorrow as effectively as The Cure. An active group since the 1970s and with singer and primary songwriter Robert Smith as its leader and only forever member, The Cure defined and popularized alternative rock in the 1980s, bridging punk rock, New Wave, goth, and pop with walls of guitars, keyboards, and audio atmosphere. 

There's a palpable air of despair and loss to most every big Cure hit, like "Lovesong," "Boys Don't Cry," "Just Like Heaven," and "Why Can't I Be You?" And so, one might think that the people who make such music might have dealt with some truly traumatic life events. Indeed, Smith and his revolving gang of darkly garmented, wild-haired, moody cohorts write and play that which they know. Many members of the iconic U.K. band have endured a fair amount of real-life strife and tragedy. Here are the very worst things to ever happen to the inner circle of The Cure.

Sadness, depression, and death inspired The Cure

A lot of the music of The Cure can be described as some combination of melancholy, heartbreaking, and sad. Those emotions aren't only a major element of the band's catalog, but are responsible for its very existence. After the spare post-punk of 1979's "Three Imaginary Boys," The Cure fully embraced darkness and gloomy sonic atmosphere on 1980's "Seventeen Seconds." "It was the first record I felt was really The Cure," Smith said in the liner notes of a reissue of the album (via Long Live Vinyl ). In 1981, The Cure's mood and musical approach would further darken — Smith's grandmother unexpectedly died, and drummer Lol Tolhurst's mother was diagnosed with cancer (which would ultimately claim her life).

Around this time, Smith dealt with persistent thoughts of meaningless and impending death. "I was 21, but I felt really old ... older than I do now," Smith told Uncut (via Mark Fisher's "K-punk" ) in 2000. "I had no faith in anything. ... I genuinely felt that I wasn't going to be alive for much longer. I tried particularly hard to make sure I wasn't." Adding to the despair, hopelessness, and suicidal ideation: the May 1980 death of a U.K. post-punk contemporary, the frontman of Joy Division. "The whole thing was reinforced by the fact that Ian Curtis had killed himself. I knew that The Cure were considered fake in comparison. ... If I wanted people to accept what we were doing, I was going to have to take the ultimate step."

A man attempted suicide at one of the band's concerts

In July 1986, The Cure was scheduled to play The Forum outside Los Angeles, California, the final concert on the 17-date, U.S. "Beach Party" tour. As the members of the band gathered and stayed close to the crew, who would guide them through the dark, backstage areas to safely get to the stage, and as the crowd's excitement and cheers grew, a 38-year-old concert-goer named Jonathan Moreland jumped up, removed a hunting knife he'd hidden on his person, and stabbed himself. Some fans urged him on, apparently thinking that his actions were a staged bit of theater befitting the gloomy music and imagery of The Cure. 

Security and police personnel acted quickly to stop Moreland from killing himself. "I saw the commotion and heard screaming and the crowd clearing as the guy jumped onto his seat," then-crew member Perry Bamonte said in Jeff Apter's  "Never Enough: The Story of The Cure." "It was surreal and disturbing." Moreland would finally be subdued by a police-fired stun-gun shot. He later admitted that he was depressed over an unrequited love; it's been reported that he died during a post-concert hospitalization, but contemporary news reports stated he was in good condition the day after the incident.

Two Cure concerts in Argentina ended in riots and death

In March 1987, The Cure visited South America for the first time, kicking off a tour leg with two shows at a stadium in Buenos Aires, Argentina. When the band arrived at the airport, it was mobbed by fans, and a crowd of at least 500 fans waited outside the hotel, according to "Never Enough."

On the first night of the two-night stand, organizers discovered that the concert had more than sold out — about 19,000 tickets had been purchased for a venue that only held 17,000 people. When thousands of fans were turned away at the gates, they were decidedly angry, and their frustration coalesced into a riot. Police cars that arrived on the scene were destroyed by the horde, multiple security dogs died in the fracas, and a hot dog vendor became so distressed that he suffered a fatal heart attack. The Cure took the stage anyway, and the riot raged on inside the stadium. "For almost two hours we play[ed] amidst defeating bedlam, before rushing off, screaming, into the car and away," Robert Smith said. Three people died that night, according to a local newspaper (via Lol Tolhurst's book "Cured: The Tale of Two Imaginary Boys" ).

On night two, with the temperature reaching 100 degrees Fahrenheit, enhanced security and imposing barricades at the stage couldn't prevent another outbreak of violence. Smith claims to have seen law officers engulfed in flames while the crowd threw objects at the band. After getting struck in the face with a soda bottle, Smith rushed through the rest of the set and got the band out of there.

Alcoholism cost Lol Tolhurst his place in The Cure

From The Cure's early days, drummer-turned-keyboardist Lol Tolhurst exhibited some problems with alcohol. The band was removed from its first high-profile showcase, opening for Billy Idol's band Generation X, after an extremely drunk Tolhurst entered a bathroom and urinated on Idol, who was in the middle of an intimate act with a fan.

During The Cure's 1987 tour of South America, Tolhurst's drinking problem had gotten to the point where he was consistently intoxicated and couldn't play the band's songs very well. That led to the hiring of supplemental keyboardist Roger O'Donnell (formerly of the Psychedelic Furs ), according to "Never Enough." Meanwhile, the rest of the band members took out their frustrations and anger on Tolhurst, who was reportedly too drunk to ever fight back or defend himself.

Following an 18-month hiatus at tour's end, and the recording of the album "Disintegration," The Cure fired Tolhurst as a direct result of his addiction issues. "I was most certainly disintegrating. Emotionally and physically it was all falling apart," Tolhurst told Billboard . He was officially dismissed after a drunken incident at a listening party for "Disintegration." "Half is good, but half is s***!" Tolhurst screamed, as recalled in his book "Cured: The Tale of Two Imaginary Boys," and then ran out of the building sobbing. Some time later, Tolhurst received his firing notice from Smith, his childhood friend, in the mail.

The nasty lawsuit between Lol Tolhurst and The Cure

Lol Tolhurst helped Robert Smith form The Cure back in the mid-1970s. More than a decade later, after much success and a lot of alcohol-related unreliability, Smith kicked Tolhurst out of the band. Shortly after his 1989 exit, Tolhurst filed a lawsuit against his former band in the U.K., alleging that he'd been unfairly removed and had been coerced into an agreement entitling him to an egregiously low royalty rate of 2% on Cure recordings. During proceedings, Smith testified to Tolhurst's inability to function in a professional capacity due to his drinking, citing how the keyboardist put colored stickers on his instrument as a tool to help himself remember what notes to play. Tolhurst retorted with examples of pervasive alcohol use throughout the band, including the time the group accumulated $3,000 in booze charges on a European train trip.

The judge ultimately ruled in favor of The Cure, agreeing with the band that Tolhurst's drinking had turned problematic and affected his musicianship. Even worse for the former Cure member: He'd racked up legal bills to the tune of $1 million, and it took him 10 years to fully erase his debt. At the one point, the U.K. government confiscated 75% of his wages, which had declined significantly once he left The Cure.

Lol Tolhurst's daughter died in infancy

Original member of The Cure Lol Tolhurst married his first wife, Lydia, in 1989. Not long after his dismissal and royalties lawsuit with his former band was settled in 1994, Tolhurst and his wife found themselves expecting a baby, but the pregnancy would end in tragedy. "We had lost a child, a daughter, due to complications during her birth," Tolhurst wrote in "Cured: The Tale of Two Imaginary Boys." Tolhurst blames the medical catastrophe on doctors. "Our original doctor who was going to deliver her was not available and a stand-in took over. Unfortunately, he was fresh out of medical school and didn't have that much experience yet." The substitute doctor reportedly mishandled an issue, and the infant experienced a critical loss of oxygen for multiple moments. That was long enough to ensure that the child's lifespan would last no more than two weeks. 

After observing their daughter, named Camille India, for that period of time in a hospital's neonatal intensive care ward enduring numerous tests and procedures, the Tolhursts were allowed to take their daughter home, where she died. Lydia Tolhurst became pregnant again and gave birth to a baby boy named Gray, but Lol Tolhurst believes that the loss of a child contributed strongly to their eventual divorce.

A post-Cure bandmate of Michael Dempsey died by suicide

Bassist Michael Dempsey was an original member of The Cure, his time in the band dating back to 1976, when it was a high school trio (with Robert Smith and Lol Tolhurst) called The Easy Cure. Dempsey would depart The Cure after the release of its first album, "Three Imaginary Boys," in 1979, and would join The Associates, a pop-oriented New Romantic group who'd score a string of hits in the U.K. The Associates had previously toured with The Cure and poached Dempsey away. Nevertheless, the acts remained on good terms, with Smith singing backup on the other band's "The Affectionate Punch."

Members of The Cure and The Associates alike were devastated, then, in January 1997 by the death of the latter's lead singer, Billy MacKenzie. The singer-songwriter, during a period of attempting to restart a dormant career, died by suicide. McKenzie was 39 years old.

Reeves Gabrels' friend and associate David Bowie died of cancer

After contributing as a guest to The Cure's 1997 single "Wrong Number" and playing with Robert Smith in the side project COGASM, Reeves Gabrels officially joined the band in 2012. In the decades prior, Gabrels built an illustrious career as an alternative rock guitarist, with David Bowie helping him land gigs with Nick Lowe and Deaf School before hiring him to play in his hard rock outfit Tin Machine. For the entirety of the 1990s, Gabrels was Bowie's main guitarist, both on stage and on record. Gabrels wrote dozens of songs with Bowie, too, before breaking away from the rock legend in the early 2000s to pursue other musical avenues.

In January 2016, Bowie unexpectedly died days after his 69th birthday. The cause of death: cancer, the diagnosis of which hadn't been publicly disclosed. Gabrels participated in the global movement of mourning and tributes for his friend and collaborator. "We shared apartments together. We borrowed socks from each other." Gabrels told NPR . "The picture I have in my head is of him cracking up in the studio. Because we just used to be able to make each other laugh."

The death of another musician profoundly affected Robert Smith

In the 2010s, The Cure frontman Robert Smith landed a position as the curator of the Meltdown Festival, an annual band showcase that featured nearly 100 bands playing in multiple venues in London over a 10-day period. "And I picked them all," Smith explained to the Los Angeles Times in 2019.

One of the acts that Smith had personally selected to play the 2018 Meltdown Festival: Frightened Rabbit, a Scottish indie pop-rock band built around the voice and songs of frontman Scott Hutchison. About a month before Frightened Rabbit was set to take the stage at Smith's behest, Hutchison was reported missing; two days later, the body of the 36-year-old musician was found in a waterway outside Edinburgh, Scotland. Hutchison had a history of depression, and his death was ruled a suicide.

Smith deeply felt the loss. "It's awful," he told Time Out (via Far Out ). "I've been listening to them for 10 years. I've never met him, but I feel I know him because of his voice."

Robert Smith suffered three successive losses

The Cure made albums regularly throughout the 1980s and 1990s. As of 2023, the band's last studio album to date was its 13th, "4:13 Dream," released in 2008. In 2019, everyone in The Cure but main songwriter and lead singer Robert Smith had completed their contributions to a record called "Live From the Moon," with Smith conceding to the Los Angeles Times that his negligence in laying down his vocal tracks was "as ever, what's holding up the album."

One other reason the band hasn't released an album since 2008 : Smith lost his passion for music, and he was inspired to write again, which helped him cope with tremendous personal tragedy. "I was offered the chance to curate the Meltdown Festival and I said yes," Smith said. "So I threw myself headlong into it and started listening to bands again and meeting kids who were in bands, and something clicked inside my head: I want to do this again. It came as a bit of a shock to me, to be honest."

The album could be one of the bleakest and most forlorn The Cure has ever recorded. "It's very much on the darker side of the spectrum. I lost my mother and my father and my brother recently, and obviously it had an effect on me," Smith said.

'80s-era The Cure drummer Andy Anderson died of cancer

After the recording of the 1982 album "Pornography," The Cure drummer Lol Tolhurst moved over to keyboards, necessitating the addition of new drummer Clifford "Andy" Anderson. His work first appeared on the single "The Lovecats" and the 1984 album "The Top," and he left the Cure shortly thereafter. Anderson also recorded and performed with other major acts before and after his stint in The Cure, including Peter Gabriel, Iggy Pop , and Hawkwind.

In February 2019, Anderson announced in a Facebook post that he'd been diagnosed with an especially virulent form of cancer — it was in Stage 4 and terminal, meaning death was imminent. "Their [sic] is no way of returning back from that, it's totally covering the inside of my body, and I'm totally fine and aware of my situation," he wrote. Nine days later, Anderson's former Cure bandmate, Lol Tolhurst, broke the news of Anderson's death, on Twitter. "I just heard from some friends who were there with Andy as he passed," Tolhurst wrote. "It is a small measure of solace to learn that he went peacefully at his home." Anderson was 68.

A long-time Cure crew member died suddenly

Drummer Jason Cooper began his three-decade-long tenure in The Cure in the mid-1980s. For many of those years, his primary drum technician — the road crew member who sets up Cooper's instrument and makes sure it's in perfect working order — was Paul "Ricky" Welton (pictured). But during the band's 2019 tour, Welton suffered an unexpected and serious cardiac event, and was hospitalized. He died just days later, on August 23, 2019.

The following evening, The Cure played the Rock en Seine festival in France. The band concluded its set with an emotional tribute to Welton, playing "Boys Don't Cry" in the drum tech's honor. For the remainder of the tour's concerts, per Cure guitarist Reeves Gabrels' Twitter , the band and crew left a stool with a beer on it just behind the drum set, as that's where Welton always sat during shows. In June 2022, Cooper took part in the 54-mile London to Brighton Bike Ride, a charity event to raise money for the British Heart Foundation — which the drummer rode in his tech's honor.

If you or anyone you know is struggling or in crisis, or needs help with addiction issues, contact the relevant resources below:

• The 988 Suicide & Crisis Lifeline: Call or text 988 or chat 988lifeline.org
• the Substance Abuse and Mental Health Services Administration website or contact SAMHSA's National Helpline at 1-800-662-HELP (4357).

Charney Marshall

• Photo Gallery

Photo & Video

• Trailers and Videos

Filmography

Personal details.

• Other Works
• Publicity Listings
• Official Sites
• Contact Info (IMDbPro)

Did You Know?

• Personal Quotes

Related Items

• Credited With
• External Sites

Professional Services

• Get more at IMDbPro

Recently Viewed

Started as a runner ft. Angie Warner (Post Malone, Jay-Z, BTS)

June 6, 2022

This week on the podcast let’s welcome Angie Warner who is a tour manager. Angie has toured with artists such as Post Malone, Jay-Z, and is the western residency tour manager for BTS. It’s incredible how much Angie has accomplished in her 22 years in the music industry, this episode felt like Angie was telling stories around a bonfire. She’s truly one of the best at what she does and her insight of arena-filling talent is something you won’t want to miss. There’s so much to learn this week so get comfy, grab a good drink, and enjoy another week of Don’t Shit on the Bus! In this episode of the Don’t Shit On The Bus podcast we will learn: • How Angie has been able to work with some of the biggest names in the music industry • What it’s like tour manage arena level show with Post Malone and BTS is like • How important security becomes at larger scale music events • The type of security measures that are needed for larger-scale music events ‍

(00:00) Intro

(02:15) Patreon

(02:47) Angie gets on the bus

(07:47) How Angie got started in the music industry

(13:43) How to stand out as a runner

(16:56) Morals Angie lives by when teaching others in the industry

(21:10) How touring has changed over the last 20 years

(25:08) How Angie has worked with the artist she’s toured with

(32:14) What a tour manager has to do at different levels of touring

(40:47) Angie’s routine on tour

(43:22) Getting a tour dog

(49:40) What security is like on arena level tours

(01:00:13) Wrap up notes

(01:01:01)Shower Shoes

Angie Warner – Guest

► Instagram: https://www.instagram.com/kidang711

‍ ► Facebook: https://www.facebook.com/kidang

Don’t Shit On The Bus Podcast

► Website: http://www.dontshitonthebus.com

‍ ► Spotify: http://bit.ly/DSotBspotify

‍ ► Apple Podcasts: http://bit.ly/DSotBapple

‍ ► TikTok: https://tiktok.com/@dontshitonthebus

‍ ► Twitter: https://twitter.com/DSotBpodcast

‍ ► Instagram: https://instagram.com/DSotBpodcast

‍ ► Facebook: https://facebook.com/DSotBpodcast

‍ ► Patreon: https://patreon.com/DSotB

Adam Elmakias – Host

► Twitter: https://twitter.com/elmakias

‍ ► Instagram: https://www.instagram.com/elmakias

‍ ► Website: https://www.adamelmakias.com

Edited & Produced by Connor Gaskey

Article By:  

Don’t shit on the bus.

We think you'll like these related articles.

Jess McCloughan, RF Queens

May 17, 2023

Signal to Noise

Finlay Watt, Monitor/RF Technician & System Engineer

April 19, 2023

Entourage Pro joins forces with The Power of Events (UK) Taskforce.

February 8, 2023

James Stanbridge

Pete Abdou, Drum Tech For Volbeat

February 1, 2023

Discover More...

Interviews and opinion from our members

Signup to our newsletter...

Get all the latest product, live & industry news directly to your mailbox.

Your have been signed up to our mail list.

By filling out this form, you agree with our privacy policy

[email protected]

[email protected]

Join Entourage Pro, it's simple and free.

Get Started | It's Free

#SeriouslyConnecting

Van Halen News Desk

The Latest News & Info about The Mighty Van Halen

Van Halen & Journey: Sharing Stage, Rivalry in 1978

April 12, 2017 —by VHND Leave a Comment

Michael Anthony, Steve Smith, Neal Schon, and Eddie Van Halen on tour together in 1978

First, we at VHND want to congratulate JOURNEY for their recent Rock And Roll Hall of Fame induction. Well deserved!

Before supporting Black Sabbath, Van Halen opened for Journey and Montrose for a few months. (Montrose was touring as an instrumental band, after Sammy Hagar departed). But not much is known about the days Van Halen toured with Journey, so we’re excited to share this little-know info about that time…

As soon as Van Halen joined Journey’s 1978 tour as opening act, word quickly spread that Van Halen was tearing it up with an explosive show that was the exact opposite of the droll, drugged-out performances of many of the day’s top rock bands. In fact, their live show was even better than their album – almost unheard of in those days. Throughout the seventies, bands would release critically acclaimed albums, only to destroy their reputation with a poor roadshow. Van Halen was the exact opposite. A loyal following quickly developed as they stormed from venue to venue, surprising unsuspecting Journey fans with energy Steve Perry couldn’t coax from himself with five pots of coffee and an eight-ball of blow.

Therefore, the Van Halen boys took it upon themselves to steal food, and sometimes girls, from Journey’s backstage area while the host band was onstage. In fact, when they destroyed the seventh floor of the Sheraton Inn in Madison, Wisconsin — throwing televisions out of the windows and having fire extinguisher fights in the hallways — they blamed the incident on their tour mates, Journey!

Years ago, we interviewed one of the few VH roadies who were part of the 1978 tour, for an article in  “The Inside” Van Halen magazine . According to him, it wasn’t long before Journey was afraid of the wild Van Halens, and consistently tried to throw their opening band off the tour for repeated trashing of hotels and dressing rooms. [Maybe the word “afraid” is taking it too far, but we can see how Van Halen’s crazy behavior probably made them feel  a bit intimidated or overwhelmed.]  Sometimes, the damage bill from hotels was greater than the price of all the rooms combined! The fact that many audiences were more animated during Van Halen’s set than Journey’s made the destruction even more difficult to swallow.

To further annoy Journey, Van Halen had their minimal road crew hard at work in the audience during the show. During Van Halen’s set, crew members handed out dozens of large buttons with the VH logo on them to all the best looking girls in the audience. They also distributed backstage passes to the hand-picked beauties. By the time Journey hit the stage, they would look out and see that all of the best looking women in the crowd — all wearing Van Halen buttons — were apparently there to see the opening act! Then, after finishing their set and returning backstage, Journey would find a bevy of hot women backstage for Van Halen, not them.

Here’s quotes from Neal Schon, Steve Smith, Leslie West, and Marshall Berle about the Journey/Van Halen tour:

Despite the early rivalry, Neal Schon has fond memories of that tour after all these years.

VHND’s Doug Fox interviewed Schon in 2012, and made sure to ask about that tour:

VHND: As far as lead guitarists, what’s been the most competitive tour that you’ve ever been on? SCHON: With other guitar players? VHND: Yeah, with other guitar players on the bill. SCHON: Well, absolutely I’d have to say, hands down, it was our first “Infinity” tour that we did that we were headlining, with Van Halen — that was their very first tour. It was Van Halen, Montrose — Steve Smith was then playing with Ronnie Montrose, it was instrumental — then us. All I remember saying is I was glad that I was not following Eddie [Van Halen] back then — even though, you know, I had my flaming moments too. We were all on fire but Ed was like coming out of left field at that time and nobody knew what the hell he was doing with the tapping, you know? I mean, I sat in a bedroom and tried to figure out his stuff with a record player, slowing it down to a slower speed and the whole thing and I still couldn’t — I’d never seen anybody do a triplet thing with their other hand, you know, with tapping. Until I met Ed and he showed me what it was, I was like, “You got me. This completely stumped me.” And he was just on fire. You know, I don’t think he ever plays bad, but in the very beginning, Eddie was just … the whole thing, those guys were just rockin’. You know, that was a great guitar show. VHND: What was it like to see him live for the first time? SCHON: It was just, really I was like, “Wow! This guy is so on fire!” I loved the whole attitude of it, you know? He had a really different tone than anybody back then and it was interesting. He had a lot of interesting things he did to get that sound. The power alternator, all kind of things that made the amp head get hotter, like run hotter, they sound better. They blow up more frequently, but they sound better, you know? So he was like a mad little scientist, you know? Ed and I became really close. We hung out a lot.”

Leslie West of Mountain, a band Van Halen had covered before they were signed, was deep into drug problems, and claimed he had all but abandoned playing guitar until witnessing Eddie Van Halen opening for Journey in 1978.

“I’d stopped playing, didn’t even want any guitars around. But while I was in Milwaukee I went to see two shows. One was because Neal Schon said to me, ‘Leslie, you gotta check out this kid who’s opening for us; he plays guitar like an organ, like a Bach organ fugue.’ I was totally taken aback—it was Eddie Van Halen, and he impressed me the way Clapton impressed me,” Leslie recalled.

Marshall Berle , Van Halen’s manager during the 1978 tour, recalled Journey being blown away while watching their opening act:

“Our first tour was as the opening band on a three-act show starring Journey, with special guest Montrose. Van Halen was to start at 7:30, a horrible time to play, as people are still coming into the venue. To make matters worse, the band was only allowed to do a short thirty-minute set. It was bizarre to see the people walking into the venue while Van Halen was playing. No one had ever seen anything like them before. The band was kicking major ass, people would just stop in the aisle and watch the band with their mouths hanging open. Eddie as always was killing on guitar.

“After about two shows, the guys from Journey would start showing up at the venue so they could watch Eddie play. Neal Schon was totally blown away by what he was seeing. The other bands would stand in the wings of the stage on Eddie’s side, and when Eddie started into his “Eruption” solo, the reaction from the bands and the audience was the same: total shock and awe!”

(Marshall’s quote is from the coffee table photo book, Eddie Van Halen , by Neil Zlozower)

Steve Smith was playing in Montrose during that tour, and later joined Journey. From an interview :

“During those 3 months in early 1978, the three bands: Ronnie Montrose, Van Halen and Journey, really hung together a lot, I got to know all of them, they got to know me and we had a lot of fun hanging together.”

Journey’s 1978 album, Infinity :

Lights Feeling That Way Anytime La Do Da Patiently Wheel In The Sky Somethin’ To Hide Winds Of March Can Do Opened The Door

Live footage of Journey, 1978:

Journey rolled through Los Angeles on February 25th to film a TV appearance on Midnight Special. This performance on nationwide tv was filmed exactly one week before Van Halen joined them on tour.

Below, watch that Midnight Special appearance, where they perform “Feelin’ That Way,” “Anytime” and “Wheel in the Sky.”

And the opening band on that tour:

Awesomely retro Van Halen 1978 World Tour Shirt at Van Halen Store.

Posts by month