April 13th, 2020
Meet the Backline Tech
Trust is a strong word. We trust the sun to rise every morning and to set at night, we trust the birds to sing and plants to grow. These things go without saying and have always been part of our lives.
For a professional musician to put their trust in another human being is a worry. The musician has spent years developing their craft, getting to know their instrument and honing their skills to the level where strangers want to pay money to watch them perform. So, to walk out in front of a crowd of hundreds or thousands of paying customers and have the confidence that their guitar is tuned or their drums are set up just so takes real trust. When inevitably a string breaks, a microphone drops or a drink spills being able to continue without missing a beat takes courage and the invisible presence of a gifted backline tech. The mysterious darkened figure that darts on and off stage. The fast fixing, quick thinking ghostbuster of the stage.
One of the best backline techs in the business is Alistair Pritchard from Bunnyrun Productions Ltd, trusted by professional musicians and their teams to assist on stadium, arenas and huge festivals shows. Ali took some time to answer a few questions about his position in touring productions.
Follow Ali Pritchard on instagram - https://www.instagram.com/alistairpritch/
Photo - Anieck Photography
Could you describe a day in the life of Ali Prichard on tour?
This can vary depending on what specific job role I'm taking part in and the artist but most recently on the Michael Ball & Alfie Boe UK arena tour we'd arrive in the early hours on the tour bus and the stage, rigging, audio and lighting would be loaded in. Soon after the backline would be tipped before noon and I'd usually go in a little early to check out the venue and grab a shower/breakfast.
On this run I was responsible for drums/percussion. Firstly I'd gather all my cases, some need to be forklifted up to the stage due to weight and then I'd set-up the drums and timpani's. Local crew are absolute key and a real help in this situation as there can be a lot of cases to move. Paying attention to detail on how John Tonks (Drummer) likes his kit set-up i'd re-skin if necessary and tune up. I'd also carry out any additional work that may need to be done such as cleaning or general maintenance. We'd have a couple of hours to do this including soundcheck. It's really a team effort because this particular gig has an entire orchestra therefore I'd help mic'ing up and patching the kit too. Before the band and artists arrive I'd get time to grab lunch and a cup of tea.
We'd then carry out soundcheck for a handful of songs and I'd make sure John was comfortable and see if anything else needed to be done. Sometimes as the tour goes on the artist may want to change some of the set-up or request a different piece of equipment which I'd be responsible for assisting the Production Manager in sourcing. Once soundcheck was complete I'd get drums show ready. This included sheet music, ensuring the lights on the stands had fresh batteries, towels and waters available.
As this tour had a lot of crew members the support band was catered for well but in some cases I'd assist in helping them on and off stage. However, this time round I was able to take a short break before show. About 20 minutes before stage I'd get my in ear monitors ready and have a sneak peak on stage making sure I had everything that I needed. We'd then do the really fun part an put on a great show (If i don't say so myself). During the show I'm discreetly yet constantly keeping an eye on the drums, microphones and Tonksy ensuring everything is running smoothly.
Once the show had finished it would be time to pack everything down and get it loaded into the truck. Whilst setting up the backline team would've already allocated a space for our empty cases and local crew would be aware of where they were and who needs what. Thorough communication and direct instructions make it a real team effort and we're able to get backline off stage as soon as possible to allow the stage decks, PA, lighting and rigging to come down. There's a lot of health and safety to take into consideration so a hard hat and hi-viz is really important. The truck would then be loaded in such an order that nothing get damaged in transit and we could account for all of our cases. I have everything labelled up and colour coded before the tour starts so it saves time. After my responsibilities are taken care of it's time to wind down on the tour bus or in some cases a hotel.
What made you want to become a backline tech?
I always had an interest in music and knew that was what I wanted to make a career in. I started playing guitar at the age of 9 and my parents took me to shows such as Mark Knopfler and Riverdance. During my time at college I was fortunate enough to make friends with a band called Brother (Viva Brother) and their crew who's music I really enjoyed. They took me under their wing and allowed me to hangout backstage and help in small ways. It gave me a sense of accomplishment and made me want to do more and more shows in whatever capacity I could. I went on to study Audio Production at the University of Lincoln and continued to connect and assist bands in any way I could.
How did you become a backline tech? What was your big break?
Viva Brother's Manager, Chris Nanadich got in contact with me shortly after I got back from studying the first semester of my 2nd year at Minnesota State University Moorhead to ask if I'd be interested in Tour Managing and generally helping a young Rock band called Darlia on their first UK tour. Little did we know that it would lead to 3 solid years of touring and so many memories. I became their guitar tech after the first couple of tours and Martin Lamb (Cradle of Filth, Philip Anselmo, Highly Suspect) became Tour Manager. Once the campaign started to slow I moved to a duo called Dolomite Minor who were supporting Eagles of Death Metal on their European Tour. EODM required an extra crew member to look after Josh Homme and Jeff Friedl and asked if I'd be interested in jumping on the tour bus with them whilst still maintaining my role with Dolomite Minor. I asked Dolomite if they minded me doing this and they said I'd be mad not to, so I was very thankful to them for understanding that opportunity.
What skills and/or qualifications are required for your job?
No qualifications are required whatsoever. However, studying for me lead to networking and more opportunities. I taught myself most of what I know on guitar by listening and reading tab/music. I then started to take guitars apart and put them back together again. Darlia's Tour Manager, Martin really taught me a lot about practical life on the road and this was having attention to detail, people skills and working hard. Learning on the job is by far the most effective method. I did buy a couple of books written by Doug Redler about guitar repairs and maintenance. These helped me quite a bit and since I reached out to Doug he offered me some work with members of The Black Crowes, unfortunately I already had other commitments. Ultimately, if you want to become anything in music you will do if you want it enough.
What is the most difficult aspect?
For me personally, I find it really hard when not on tour as my routine feels broken and I really enjoy being around people and the team. On the otherhand, as I start to have my own family I think it will be harder to go away but this was something I considered before choosing my career path.
What is the most enjoyable aspect?
Being part of a tour family and doing your bit to put on a show is incredibly rewarding and I can't really compare it to anything else. I get to meet so many new people and see a lot of places all over the world whilst still making a living and lots of memories.
Do you have a favourite moment or story from the road?
I have many stories, some too naughty for the internet.
However, my favourite memories include headlining Brixton Academy with Maribou State ending a long campaign of Europe/USA. Then later that year headlining 2nd stage at Rock in Rio with Jessie J on the South American run.
Who are your notable/best clients?
Eagles of Death Metal, Fun Lovin' Criminals, Maribou State, George Fitzgerald, Jessie J, Fat White Family, Smokie, Mini Mansions, Peace, Paul Draper/Mansun
What has been your worst moment on tour?
I once got set on fire whilst on the way to Rock Am Ring, Germany the worst thing about it is that I was asleep after being exhausted from doing my dissertation all day/night and maintaining my job. Looking back, it's kind of funny but at the time the smell of my leg hair burning and jeans going brown was not. During that same tour I had chewing gum put in my hair, again, I was asleep and then I had to cut it out which resulted in shaving all my hair off to stop me looking like a monk.
Where do you see yourself in 5 years?
In 5 years time I'd like see myself continuing to work my way up to larger acts and many more shows a year. Developing the knowledge I already have technically and that of the world. Ideally as a Stage Manager and eventually a Production Manager. However, things change unexpectedly and rather fast in this industry, who knows where I'll be.