Backline Rental

Une semaine après le premier dossier sous la bannière Touring Support France, je suis de retour dans la partie suivi.

Pas la partie la plus visible du touring, mais probablement l’une des plus importantes :
vérifier comment les choses se sont passées, écouter les retours, garder des relations propres, et faire en sorte que chacun sache qu’il peut rappeler si besoin.

Après de nombreuses années dans le backline et le support de production, je reste convaincu que ce métier ne consiste pas seulement à fournir du matériel.

C’est être fiable quand les choses bougent vite.
C’est savoir qui appeler.
C’est simplifier la vie des tour managers, production managers, prestataires et équipes terrain.

Touring Support France avance, étape par étape.

Support basé en France pour les productions internationales :
backline, son, lumière, vidéo/captation, crew, transport et coordination locale avec des partenaires de confiance sur le terrain.

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One week after the first job under the Touring Support France banner, I’m back in follow-up mode.

Not the glamorous part of touring, but probably one of the most important:
checking how things went, listening to feedback, keeping relationships clean, and making sure people know they can call again when needed.

After many years in backline and production support, I still believe this job is not only about providing gear.

It’s about being reliable when things move fast.
It’s about knowing who to call.
It’s about making life easier for tour managers, production managers, suppliers and crews.

Touring Support France is moving forward, step by step.

France-based support for international productions:
backline, audio, lighting, video/capture, crew, transport and local coordination with trusted partners on the ground.

A few years ago in Paris —
we were asked to source real harpsichords.
Not replicas. The real thing.

Instruments that are fragile, don’t like to move…
and definitely not designed for touring.

The first answers were all the same:
“No chance.”

But in this job, “no” usually just means
you haven’t found the right person yet.

It took time, the right contacts, and constant attention on site —
but it worked.

That’s something I’ve seen again and again in touring:

simple on stage…
complex behind the scenes.

Curious —
what’s the most “impossible” request you’ve had to deal with on tour?